ThunderHouse Instruments

Sunday, 2 November 2008

Gibson Les Paul Recording Guitar Rebuild

A few years ago I was approached by a fellow who had a Gibson Les Paul Recording Guitar which was a variation of the established model. Back in the early 1970s, Gibson began experimenting with new models such as the "Les Paul Recording." This model is often eschewed by guitar purists: considered too full of "gadgetry." The "Recording" featured low-impedance pickups, many switches and buttons, and a highly specialized cable for impedance-matching to the amplifier.

The instrument I received had a badly damaged finish. At one time someone had modified the instrument by removing the low impedance pickups and replaced them with traditional humbuckers. This entailed filling the original pickup cavities and re-routing new ones appropriate for the humbuckers.

As the instrument had no value in the condition that it was in, I proceeded to make it both playable and ascetically pleasing.

Below are a few of the steps in the progression of the rebuild.

(SelectedPhotos Follow Below)

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Stripping old finish off of the Guitar body using a 3-M environmentally safe paint stripper

Note Black Binding on previously black guitar
(Radius Fretboard Sanding Block in Foreground)

Sanding guitar body with random orbit sander

Leveling & Sanding fingerboard (Frets Removed)

Body spray painted with gloss black water based Hydrocote brand finish. Clearcoat Hydrocote sprayed as topcoat. Finish is "rubbed out" using a variety of abrasives from 'Micromesh' cloth to powdered abrasives such as Pumice and Rottenstone in water or paraffin oil. Final gloss is achieved with Meguier brand automotive finish compounds.

Making sure hardware fits. Caution! A nice tight fit may be reduced in size due to the thickness of the finish used.

Reverse of body (left) and laminated neck blank of an unrelated project.

New White binding attached to channel on guitar edge with Acetone based plastic cement.
Binding secured with tape while glue dries.

Rubbed Out Finish on reverse of body with contrasting white binding.

Rubbed out front with new white binding
(Fingerboard protected by masking tape)

Fret removal using soldering iron and pliers.
(Heat softens old glue and lessens wood chipping during removal)

Coiled Bulk Fretwire and Fretwire Bender clamped in vice.

Frets cut to size and ends of frets are "nipped" using special tool.
Nipped ends of frets allow frets to run over binding without passing through them.

Using Band Saw to cut new electronics cavity cover

Copper shielding glued into all electronics cavities to reduce extraneous electronic interference. Alternatively a metal particle paint can be used.
(extra contact cement ensures sticky copper back will adhere)

Checking Neck Angle of Copper Shielded Guitar Body

Assembled Guitar with Gold Hardware.

Potentiometers (Volume & Tone) & Selector Switch with Output Jack on underside of copper shielded control cavity cover.
(Cavity cover made four photos above)

Front of Control Cavity Cover with 'Pot' Shafts Protruding.

Assembled Guitar

Final Guitar as Presented to Owner.

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Wednesday, 1 October 2008

Acoustic Bass Guitar

Another Unfinished Project: An Acoustic Flat Top Bass Guitar based on a Martin Design. Guitar is assembled but requires fingerboard, saddle and finishing and hardware. So close yet so far away.

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Manual Bending of Guitar Sides on Bending Iron
(A Side Bending Jig was actually used)

Various Wooden Components of Acoustic Bass Guitar in preparation

Partially Assembled Parts:
Front Spruce Top Joined and Thicknessed with Soundhole cutout;

Joined Spruce Top Plate with Soundhole Cutout

(Soundhole cut with special cutting tool attachment on Dremel Tool)

Bracing Ribs Glued & Clamped To Spruce Top

Braces Trimmed with Chisels and Small Planes

Guitar Sides Glued and Clamped (Joined) at End Block

Sides at front Joined by Glue and Clamping to Neck Block

Excess Side Wood Chiseled away to reveal Neck Block V-Pocket
(Alternatively Dremel Tool could be used)

Side "Kerfed" Linings glued and clamped (high-tech clothes pins) to sides
(Linings provide strength and surface where to glue front and back plates.

Truing Surface of Linings with Small Plane

Truing Sides of back with Jointer

Glued Back being double checked for Thickness with Caliper Guage

Back Braces Glued and Clamped to Back

Routing Channel in Back for Decorative Inlay Strip
(Strip covers glue joint strengthening it)

Assembled Back& Sides

Spruce Top Placed on top of Assembled Back & Sides

Assembled Body with Neck in Foreground

Assembled Body (with some violin making tools on right)

Assembled Body showing Decorative Inlay Strip in Back

Binding Material (Coiled) with Dremel tool and Binding Channel Attachement

V-Joint Neck Attachment

Dremel Router Readied to cut Inlay Logo Pocket

ThunderHouse (THI) Logo Inlay Pocket Ready for Abalone Inlay

* * *

This instrument remains uncompleted until I can once again get back to my shop.

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Tuesday, 2 September 2008

Violin Construction

I have always been fascinated by the violin although if I place one under my chin and take a bow to it, the sound can best be described as "a symphony for cat & chainsaw"! My fascination starts with the artisans that defined and refined it's dimensions and structure. Names from Cremona Italy such as Stratavari, Amati and Guarneri inspire today's builders with their creations, both beautiful and functional throughout the ages. France, England and The Netherlands also contributed with their own styles and exquisite builders.

My wife is the genealogist in the family however my interest in the violin became elevated when I discovered that my great grandfather made violins in the old country of Latvia. Naturally I had to try my hand at it.

A few photos are posted below, far to few for a true photo essay, however, for the time being they are all that I can offer.