Welcome back to our series on building a guitar. Last month we spent our first day gluing our guitar’s sections together. By the end of the day two, we want
Welcome back to our series on building a guitar. Last month we spent our first day gluing our guitar’s sections together. By the end of the day two, we want the fretboard and headstock veneer glued in place.
Step 1
We will surface sand the front and rear flat, with the rear being of most concern. We want a final thickness of 1.915”. If you don’t have access to a wide belt sander, try your local door/cabinet workshop, or even a school woodshop. If there’s enough material to sand the front and rear, great! The body face will be later planed down to 1.780”, with the neck face at 1.895” when we’re finished.
Whether building with a bandsaw, pin router, hand-held or CNC router, tooling holes located in your templates that are universally located for front and rear routing aid in the accurate alignment of all machining operations. Leo Fender used 1/8” tooling pins in their bodies and necks. Suppliers offering a variety of template kits for DIY guitar building – including 1/4” templates with every detail needed to build – can be easily located. If you draw your own CAD templates, a blueprint shop can plot prints to the exact size, which you can adhere to Masonite with adhesive spray. Bandsaw, route and sand to the final size with drawing/ dimensions as a reference.
Step 2
For drilling tooling holes, I use a 1/2” thick Plexiglas template with two 3/4” drill bushings and a centerline scribed to align. The fixture has two screw holes located out of the work area – use two wood screws to keep it in place and drill through the holes with a drill press.
Step 3
We now need to create our headstock angle. This can be whatever you want – flat and offset to the fretboard surface like a Fender design or a pitched headstock of your choice angle, like a Gibson. I am using a 12-degree cut with a 5/8” ball end mill. This can be bandsawed and edge sanded just as easily.
Step 4
The truss rod slot will vary based upon the dimensions of the rod used – most will have specs included. I use a custom made rod installed in a 7/32” round bottom channel, which matches the truss rod size without binding. The channel can be routed with a plunge router or table router. A fixture with arc’ed guide rails can be made for a vintage rod; some use a flat bottom channel. Using a thin, metal yardstick on edge, bend the stick to create your arc, based on the depths needed for the rod used (start, middle and end points of depth). I use a 7/32” ball nose cutter to route the channel, anchor hole and the opening at the headstock. Keep in mind, you can reverse the rod installation and put the adjusting area at the butt end; it doesn’t have to be at the headstock. Once routed, lube the rod with beeswax to keep glue from sticking and install. Bending the rod to match the channel’s shape is a key element to not loading your neck with tension.
Step 5
Installed above the rod is a 7/32” wide, 1/2” tall, X long (length of slot) fillet. This fillet matches the channel’s arc, glued only on the sides. Make sure not to get any excess glue between the fillet and rod – don’t force it, as it may split your neck later. I use a few Quick Grip clamps, light pressure and make sure the fillet is pulled all the way in to avoid rod rattle. An hour is all you need before pulling the clamps and surfacing the fillet flush.
Unfortunately, we’re out of space, but next month we’ll get the headstock veneer and fretboard glued in place.
Gene Baker
Any questions or comments visit
www.finetunedinstruments.com
www.meangene.org
email me at b3gene@verizon.net
Fine Tuned Instruments LLC, home of his “b3” instruments.
Selenium, an alternative to silicon and germanium, helps make an overdrive of great nuance and delectable boost and low-gain overdrive tones.
Clever application of alternative materials that results in a simple, make-everything-sound-better boost and low-gain overdrive.
Might not have enough overdrive for some tastes (although that’s kind of the idea).
$240 street
Cusack Project 34 Selenium Rectifier Pre/Drive Pedal
cusackmusic.com
The term “selenium rectifier” might be Greek to most guitarists, but if it rings a bell with any vintage-amp enthusiasts that’s likely because you pulled one of these green, sugar-cube-sized components out of your amp’s tube-biasing network to replace it with a silicon diode.
That’s a long-winded way of saying that, just like silicon or germanium diodes—aka “rectifiers”—the lesser-seen selenium can also be used for gain stages in a preamp or drive pedal. Enter the new Project 34 Selenium Rectifier Pre/Drive from Michigan-based boutique maker Cusack, named after the element’s atomic number, of course.
An Ounce of Pre-Vention
As quirky as the Project 34 might seem, it’s not the first time that company founder Jon Cusack indulged his long-standing interest in the element. In 2021, he tested the waters with a small 20-unit run of the Screamer Fuzz Selenium pedal and has now tamed the stuff further to tap levels of gain running from pre-boost to light overdrive. Having used up his supply of selenium rectifiers on the fuzz run, however, Cusack had to search far and wide to find more before the Project 34 could launch.
“Today they are usually relegated to just a few larger industrial and military applications,” Cusack reports, “but after over a year of searching we finally located what we needed to make another pedal. While they are a very expensive component, they certainly do have a sound of their own.”
The control interface comprises gain, level, and a traditional bright-to-bassy tone knob, the range of which is increased exponentially by the 3-position contour switch: Up summons medium bass response, middle is flat response with no bass boost, and down is maximum bass boost. The soft-touch, non-latching footswitch taps a true-bypass on/off state, and power requires a standard center-negative 9V supply rated at for least 5 mA of current draw, but you can run the Project 34 on up to 18V DC.
Going Nuclear
Tested with a Telecaster and an ES-355 into a tweed Deluxe-style 1x12 combo and a 65 Amps London head and 2x12 cab, the Project 34 is a very natural-sounding low-gain overdrive with a dynamic response and just enough compression that it doesn’t flatten the touchy-feely pick attack. The key adjectives here are juicy, sweet, rich, and full. It’s never harsh or grating.
“The gain knob is pretty subtle from 10 o’clock up, which actually helps keep the Project 34 in character.”
There’s plenty of output available via the level control, but the gain knob is pretty subtle from 10 o’clock up, which actually helps keep the Project 34 in character. Settings below there remain relatively clean—amp-setting dependent, of course—and from that point on up the overdrive ramps up very gradually, which, in amp-like fashion, is heard as a slight increase in saturation and compression. The pedal was especially fantastic with the Telecaster and the tweed-style combo, but also interacted really well with humbuckers into EL84s, which certainly can’t be said for all overdrives.
The Verdict
Although I almost hate to use the term, the Project 34 is a very organic gain stage that just makes everything sound better, and does so with a selenium-driven voice that’s an interesting twist on the standard preamp/drive. For all the variations on boost and low/medium-gain overdrive out there it’s still a very welcome addition to the market, and definitely worth checking out—particularly if you’re looking for subtler shades of overdrive.
Some of us love drum machines and synths, and others don’t, but we all love Billy.
Billy Gibbons is an undisputable guitar force whose feel, tone, and all-around vibe make him the highest level of hero. But that’s not to say he hasn’t made some odd choices in his career, like when ZZ Top re-recorded parts of their classic albums for CD release. And fans will argue which era of the band’s career is best. Some of us love drum machines and synths and others don’t, but we all love Billy.
This episode is sponsored by Magnatone
An '80s-era cult favorite is back.
Originally released in the 1980s, the Victory has long been a cult favorite among guitarists for its distinctive double cutaway design and excellent upper-fret access. These new models feature flexible electronics, enhanced body contours, improved weight and balance, and an Explorer headstock shape.
A Cult Classic Made Modern
The new Victory features refined body contours, improved weight and balance, and an updated headstock shape based on the popular Gibson Explorer.
Effortless Playing
With a fast-playing SlimTaper neck profile and ebony fretboard with a compound radius, the Victory delivers low action without fret buzz everywhere on the fretboard.
Flexible Electronics
The two 80s Tribute humbucker pickups are wired to push/pull master volume and tone controls for coil splitting and inner/outer coil selection when the coils are split.
For more information, please visit gibson.com.
Gibson Victory Figured Top Electric Guitar - Iguana Burst
Victory Figured Top Iguana BurstThe SDE-3 fuses the vintage digital character of the legendary Roland SDE-3000 rackmount delay into a pedalboard-friendly stompbox with a host of modern features.
Released in 1983, the Roland SDE-3000 rackmount delay was a staple for pro players of the era and remains revered for its rich analog/digital hybrid sound and distinctive modulation. BOSS reimagined this retro classic in 2023 with the acclaimed SDE-3000D and SDE-3000EVH, two wide-format pedals with stereo sound, advanced features, and expanded connectivity. The SDE-3 brings the authentic SDE-3000 vibe to a streamlined BOSS compact, enhanced with innovative creative tools for every musical style. The SDE-3 delivers evocative delay sounds that drip with warmth and musicality. The efficient panel provides the primary controls of its vintage benchmark—including delay time, feedback, and independent rate and depth knobs for the modulation—plus additional knobs for expanded sonic potential.
A wide range of tones are available, from basic mono delays and ’80s-style mod/delay combos to moody textures for ambient, chill, and lo-fi music. Along with reproducing the SDE-3000's original mono sound, the SDE-3 includes a powerful Offset knob to create interesting tones with two simultaneous delays. With one simple control, the user can instantly add a second delay to the primary delay. This provides a wealth of mono and stereo colors not available with other delay pedals, including unique doubled sounds and timed dual delays with tap tempo control. The versatile SDE-3 provides output configurations to suit any stage or studio scenario.
Two stereo modes include discrete left/right delays and a panning option for ultra-wide sounds that move across the stereo field. Dry and effect-only signals can be sent to two amps for wet/dry setups, and the direct sound can be muted for studio mixing and parallel effect rigs. The SDE-3 offers numerous control options to enhance live and studio performances. Tap tempo mode is available with a press and hold of the pedal switch, while the TRS MIDI input can be used to sync the delay time with clock signals from DAWs, pedals, and drum machines. Optional external footswitches provide on-demand access to tap tempo and a hold function for on-the-fly looping. Alternately, an expression pedal can be used to control the Level, Feedback, and Time knobs for delay mix adjustment, wild pitch effects, and dramatic self-oscillation.
The new BOSS SDE-3 Dual Delay Pedal will be available for purchase at authorized U.S. BOSS retailers in October for $219.99. To learn more, visit www.boss.info.