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Using the router table to route the truss rod channel - 1/4'" wide x 3/8" deep

The end of the truss rod must end up below the surface of the headstock

On a line square to the centerline, cut the edge of the veneer that will butt up to the nut at a 17 degree angle.

Four x 1/16" holes have been drilled through the veneer into the headstock outside of the headstock pattern. 1/16" brad nails will be used to locate the veneer during glue-up. The caul has 1/4" holes where the brads will protrude. The veneer has been notched for the truss rod.

A block is clamped square to the headstock to neck junction line. Apply an even, fairly light glue layer, locate the veneer with the brads, then clamp. Let set overnight.

Using the adjustable protractor to copy the neck to body angle to transfer to the neck blank. (Should be 85.6 degrees)

Transferring the neck to body angle at the 16th fret on the neck blank.

Cutting the neck to body angle just down to the 1.5" tenon line

Another line is rough cut on the tenon side - this will be the limit of the band saw cut

Cutting the tenon on the bandsaw, up to the safety line. Masking tape on the line as used as a visual guide.

The remainder of the cut to the body line will be carefully done with a chisel.

The neck to body joint has been cleaned up with a chisel.

The material for the pickup cavity at the end of the tenon has been removed.

After carefully shaving the tenon down to size, the tenon is fitted into the body and the cutaway line is marked.

Starting to look like a guitar....

For the headstock inlay, the inlay was photocopied. (which was glued on black cardboard). In an image editor it was rendered as negative, black and white, and the contrast was increased to make an image that could be printed and glued to the headstock as a template. Then just rout out the black bits. It is important not to choose an inlay that is too bold...

Using the Dremel and a 1/16" end mill to carve out the inlay. This needs to be done in two passes.

Ready for the inlay

The inlay was glued in with medium CA, then filled in with epoxy mixed with black dye.

To cut the fretboard inlays, the fretboard is held in a channel cut into MDF that is the exact thickness of the fretboard. The block inlays are centered and marked around with a pencil. The bulk of the inlay was removed with a 1/8" end mill, than a 1/32" end mill was used to cut to the line.

The MOP block inlays were glued in place with medium CA, then Woodcraft filler was pressed in before smoothing with the 12" radius block.

The fretboard taper, (minus the binding) was traced on the fretboard, then taped off to provide a visual guide for the #4 plane on the shooting board.

After planing, the fretboard is taken down to the exact size on the sandpaper jointing jig. The sandpaper is held square onto a piece of flat 1/4" float glass.

After attaching the binding at the end of the fretboard, the side binding is clamped against the fretboard, then a drop of thin CA is wicked between the frets, to avoid getting any glue in the fret slots. Two layers of masking tape are on the bottom of the fretboard, allowing the binding to fit proud of the bottom, so it can be scraped flush later. Once dry, the fretboard is turned over and a bead of thin CA is wicked into the bottom seam.

The fretboard length just butts into the pickup ring. The nut end is 1-11/16", the butt end is 2 1/4". The binding width is 0.070", to match the binding width on the body.

The headstock template is attached to the headstock with double-sided tape. 3 operations will follow - cutting the shape using a router with a pattern bit, drilling the 1/16" pilot holes for the tuners, and shaping the "moustache" at the peak of the headstock with a needle file.

To position the fretboard for gluing, the fretboard is lightly clamped into position against a dummy nut exactly on the layout lines, and 6 x 1/2" pieces of wood binding are CA'd in place using medium CA.

After gluing the truss rod in place, masking tape is placed over the truss rod and the glue is spread.

After removing the masking tape the fretboard is clamped into place, ensuring it is snug up against the dummy nut. The binding pieces will prevent the fretboard from sliding around during clamp-up. The cauls are shaped to the 12" fretboard radius and lined with 1/8" cork.

Okee-Dokee - there has been progress......

Well done! I'd be proud to own it.

_________________
"Act your age, not your shoe size" - Prince

Thanks Chris!
I sprayed 18 coats of EM6000 last weekend, so am looking to complete this project this weekend.

It looks awesome. You are way too fast lol

Thanks! The LP build has caught my attention, so am putting some time into it.
I will post some catch-up pix tomorrow.
This build has come along exceedingly well, really looking forward to stringing it up!

Rob

Just a few pix to close out this thread:

All done!
57 days.
Plays like a dream!

Outstanding!

_________________
"Act your age, not your shoe size" - Prince

Great work !

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Ken

I've been following your build Robbie! It came out really nice! Excellent stuff!!

I'm planning on having a go at some solidbody guitars later on this year myself...

Cheers,
Dave F.

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Cambrian Guitars

"There goes Mister Tic-Tac out the back with some bric-brac from the knick-knack rack"

Chris, Ken, thanks!
Dave, best of luck on your build.
Here is some more detailed pics and narrative on this build:

http://s16.photobucket.com/albums/b33/robmcdougall/Les%20Paul%20Build%201/

I just started a double cutaway model that will be a little thinner.....

Nice work! How long did the project take to complete? Looks like you moved along quickly.

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Brad
Avon, OH

Thanks Brad!
57 days start to finish, part-time evenings and weekends....
The only serviced part was the slotted fingerboard.

57 days...nice job. What did you use for a finish?

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Brad
Avon, OH

After pore-fill with Timbermate, and wipedown with a light cut of shellac, I sprayed 15 coats of Target EM6000 in 3 sessions.

Robbie,

Beautiful work. Thanks for sharing.

For those of us who also want to build a first electric, are there any other lessons you learned or insights you gained that may help us?

Thanks,
Kevin Looker

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I'm not a luthier.
I'm just a guy who builds guitars in his basement.
It's better than playing golf.

Hi Kevin,

What I did was build from an established design - the LP set neck guitar.
I researched as much as I could then just started building.
The key was the templates I think - spending the time to create and make perfect made the guitar build go like butter.
I followed the same approach on my current "designed-by-me" build and it is turning out great.
I also took the time to create a full-size top and side-view set of plans.
The neck geometry must be correct, but that is the same for any guitar.
I found that the combo of 4.4 degree neck angle, 1.2 degree pickup angle works out perfectly.

Biggest lesson? Don't try a hand-rubbed aniline stain on a carved maple top. I will spray the burst on my current build, am hoping for better results.

Just post if you have any specific questions.

Rob

Very nice! I only have one question: What does it sound like?

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Regards,
Phillip Patton

http://www.pattonblades.com

The bitterness of poor quality lingers long after the sweetness of low price has faded.

https://hoosierbladesmith.wordpress.com

Hahaaa!
How could I give you an unbiased opinion?
However....other "real" players that have played it have commented first on the playability and sustain.
At 9lbs 12oz it has sustain....
The pickups I used are slightly hot so it has a nice crunch when driven, which is what I was looking for.