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Overnight the fretboard was glued and clamped to neck and the Sycamore top to the body so the first job of the day was to route the top flush with the main body of the guitar (Fig 25) and also route the fretboard flush with the neck (Fig 26). |
Fig 25
Fig 26 |
| The remainder of the day was spent working on the neck. Once the fretboard was routed flush with the neck blank, there were two small areas protruding from the end of the neck (due to the router template not extending far enough along the timber) which needed planing flush before shaping of the neck began (Fig 27). |
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| The next stage of the neck was to cut away some of the material from the depth of the blank before carving. We marked out a line on the side of the neck blank, down from the heel end of the neck (the end which will attach to the guitar body) to 24 mm depth and ran it to 22 mm depth at the headstock, below the 15th fret. This line was rough-cut on the bandsaw, leaving a small protrusion at the headstock end and the remainder of the neck past the 15th fret was left to later form the heel. The 24 mm depth near the heel was blended into the remaining full depth of the blank (Fig 28). With this done, shaping of the neck could begin (Fig 29). |
Fig 28
Fig 29 |
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Using rasps we smoothed the back of the neck roughly flat then made dividing lines starting from a centre line then two further lines halfway between the centre line and each edge of the neck. We filed down the timber between these lines (Fig 30), creating further dividing lines along the neck profile and filing away the timber between those until we were left with the rough C shaped curve of the neck. Final shaping was done with a fine rasp. This process requires a lot of patience and concentration as there is a lot of blending between the main neck profile and the headstock (Fig 31) and heel (Fig 32). |
Fig 30
Fig 31
Fig 32 |
| The bobbin sander was very useful for getting into some of the tighter more tricky curves (Fig 33). |
Fig 33 |
| After a number of checks and re-files, the neck profile was finally complete and was then sanded down to a final finish in five stages: 80 grit, 120 grit, 180 grit, 240 grit and 320 grit (Fig 34). |
Fig 34 |
| The fretboard then needed to be 'radiused'. Guitar fretboards generally are not flat but feature a slight convex curve to make them more comfortable to play. A simple block of wood with the correct radius formed on it was used (Fig 35), with a sheet of fine sandpaper until the fretboard followed this curve across the full width and length. |
Fig 35 |
| The final part of shaping for the neck was the back of the headstock. Before this could be completed we had to drill the holes in the headstock for the tuning pegs (Fig 36). This was because if there was any breakout of the timber on the underside of the headstock from drilling, this timber would be removed when the back of the headstock was dimensioned to the correct size. |
Fig 36 |
| Once drilled, we fitted the headstock template to the already finished front of the headstock. A temporary fence was clamped to the large BBS1 bobbin sander and the headstock was slowly passed along its length and through the bobbin (Fig 37), shaping the back perfectly straight thanks to the template on the other side of the headstock. The back of the headstock was then sanded to a fine finish from 80 to 320 grit. |
Fig 37 |
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