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Les Paul from scratch - non warmoth

Man that looks awesome. I love the way the rosewood turned out. I also appreciated your fretting discussion. I'm too much of a p%#$% to try it myself, but it looks like you nailed it!
Congrats! Can't wait to see it finished!
 
I have come to use regular old greeny-gray 3M wet/dry sandpaper for most all the fretwork I do. It "seems" like all those diamond files would pay for themselves - if you were doing dozens of guitars a year maybe - but seriously, it might take a half a sheet of 320 grit, a half a sheet of 400, 600, 1500... it's like $2 max worth of sandpaper! I do like a crowning file and a smallish triangle file, but most of my files are just files, not some $30 StewMac superfile. $25 for an 11-blade S/M feeler gauge, vs. $10 at the auto parts store for a 22-blade one.... gunsmiths, jewelry makers and hobby stores all use a lot of the exact same tools, without the "ignorant dope fiend guitarist" surcharge added.
 
Final update.  It took me a while to finish this up since I was working on the other two guitars.  I didn't take any pictures of working on the nut or doing any of the wiring.  I had intended to and then I forgot.  Working on the nut was a lot easier than I thought it would be.  I built a little excel spreadsheet that calculated string spread that would compensate for whatever string guage I would use or nut width.  Then I just marked the slot positions with a pencil and used an exacto knife to score the slot positions.  It makes it easier to get the files cutting at the right point. 

All in all I have been really happy with the way this has turned out.  I won't build another for a long time.  It is a lot of work and I don't really have a good space for a wood working shop.  I basically made my wife park outside the garage and took it over.  Not a long term solution.  I think my next guitar will be Warmoth parts.  It takes a ton of work to get the guitars as nice as Warmoth's stuff.  Lots of sanding and shaping, especially the necks.


 
That is one of the most beautiful guitars I have ever seen.

Congratulations for the craftsmanship skills and perseverance..  :hello2:      
 
Weird, after looking at those comments I just noticed that that nut does look pretty wide haha.


But that doesn't mean this thing isn't beautiful! You did a great job!
 
The nut is pretty wide.  I set the neck up to feel like an acoustic guitar which is why it looks so wide.  The other guitar I built has a standard 1 11/16ths since I was giving it away.  
 
Holy Hannah, I can't believe I missed this thread until today! What a beauty. Amazing work.

The fretboard looks a lot like my classical, very wide and very flat. What's the radius? If you mentioned it, I missed it, I'm sorry.

While reading, I found this exchange:

Danuda said:
Cagey said:
ubershallman said:
I always thought a scarf joint was supposed to be nice and strong. I was under the impression it was a much better solution than a traditional tilt back design.  :dontknow:

It's stronger than a butt joint because you have a larger gluing surface, but there's no mechanical interlock so you're still relying on the strength of the glue and the integrity of the wood. The glue is generally stronger than the wood these days, but wood hasn't changed any. It'll tear along the grain next to the glue joint, rather than the joint itself separating. Because wood has a lot of shear strength perpendicular to the grain, but substantially less parallel to it, you don't often see straight necks busted at the headstock. But, look at the vast majority of broken necks with tilt-back headstocks and you'll most often see they're busted at the scarf joint where parallel stresses exist.

I broke the neck of my acoustic guitar once at the headstock.  The scarf joint didn't fail it was a littlebehind that. I suspect most angle headstocks break because when you knock them over the headstock hits hard first.

After a day of wiring and soldering, which took me an exceptionally long time (first time I've ever wired a guitar, though not sure if that's an excuse for my slowness), I went to put my guitar on the stand and I must have half-assed it, because down she went. Thank goodness I don't have kids, because it was a serious parental neglect moment. After picking her up and a quick exam, all seemed well, but looking at the conversation above, I took another look at the neck at the point where it meets the headstock and there is -- I hope it's just in the finish -- a 45-degree crack right at the apex of the right angle slot in which the nut sits. My poor baby. :sad:

Still, I am so amazed and impressed at your build. Just wiring my guitar was a crucible. Plaudits and accolades to you for doing all of that work and winding up with such an astoundingly stellar product. She's a real beauty.
 
reluctant-builder said:
Holy Hannah, I can't believe I missed this thread until today! What a beauty. Amazing work.

The fretboard looks a lot like my classical, very wide and very flat. What's the radius? If you mentioned it, I missed it, I'm sorry.

While reading, I found this exchange:

Danuda said:
Cagey said:
ubershallman said:
I always thought a scarf joint was supposed to be nice and strong. I was under the impression it was a much better solution than a traditional tilt back design.  :dontknow:

It's stronger than a butt joint because you have a larger gluing surface, but there's no mechanical interlock so you're still relying on the strength of the glue and the integrity of the wood. The glue is generally stronger than the wood these days, but wood hasn't changed any. It'll tear along the grain next to the glue joint, rather than the joint itself separating. Because wood has a lot of shear strength perpendicular to the grain, but substantially less parallel to it, you don't often see straight necks busted at the headstock. But, look at the vast majority of broken necks with tilt-back headstocks and you'll most often see they're busted at the scarf joint where parallel stresses exist.

I broke the neck of my acoustic guitar once at the headstock.  The scarf joint didn't fail it was a littlebehind that. I suspect most angle headstocks break because when you knock them over the headstock hits hard first.

After a day of wiring and soldering, which took me an exceptionally long time (first time I've ever wired a guitar, though not sure if that's an excuse for my slowness), I went to put my guitar on the stand and I must have half-assed it, because down she went. Thank goodness I don't have kids, because it was a serious parental neglect moment. After picking her up and a quick exam, all seemed well, but looking at the conversation above, I took another look at the neck at the point where it meets the headstock and there is -- I hope it's just in the finish -- a 45-degree crack right at the apex of the right angle slot in which the nut sits. My poor baby. :sad:

Still, I am so amazed and impressed at your build. Just wiring my guitar was a crucible. Plaudits and accolades to you for doing all of that work and winding up with such an astoundingly stellar product. She's a real beauty.

Thanks :)
I went with a straight 12" radius.  I figured trying to do a compound radius would be a little to difficult for a first try. 
As far as the neck crack it is hard to tell how deep it goes.  My acoustic guitar if you pulled on the headstock you could see the crack expand and contract.  I actually played it that way for about a year before I fixed it.  After a while the crack kept getting worse so I cracked it further, put in some wood glue and clamped the crap out of it.  It has been perfect ever since.  No problems.  If the crack is small you are probably fine.
 
"They" always say that a properly-glued repair joint is actually stronger that the wood itself, which sorta births the question:

"Why don't we just make guitars out of glue, then?"

:icon_scratch:

I have long had my doubts about "they", though, "they" always seem to be right in the middle of the puddle squealin' louder than the pigs.
 
StubHead said:
"They" always say that a properly-glued repair joint is actually stronger that the wood itself, which sorta births the question:

"Why don't we just make guitars out of glue, then?"

:icon_scratch:

I have long had my doubts about "they", though, "they" always seem to be right in the middle of the puddle squealin' louder than the pigs.

Hmmm, a guitar made entirely out of glue. What would the tone be like?  :icon_biggrin:
 
PaulXerxen (nexrex) said:
StubHead said:
"They" always say that a properly-glued repair joint is actually stronger that the wood itself, which sorta births the question:

"Why don't we just make guitars out of glue, then?"

:icon_scratch:

I have long had my doubts about "they", though, "they" always seem to be right in the middle of the puddle squealin' louder than the pigs.

Hmmm, a guitar made entirely out of glue. What would the tone be like?  :icon_biggrin:
Well there was the strat that was made of fiberglass, witch technically is just fiber and some glue... :dontknow:
 
StubHead said:
"They" always say that a properly-glued repair joint is actually stronger that the wood itself, which sorta births the question:

Take two pieces of wood and put some Titebond II between them, clamp 'em up, and wait a few hours. Then, remove the clamp(s) and try to separate the two pieces of wood. The wood will break before that joint will let go.
 
Late to the party ... again!

Wow Danuda, that is an incredible lookin' instrument. What an inspiration this thread has been.
 
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