Shop talk - The making of

A complete guitar! Just missing the wood...
I work only with the highest quality components and hand crafted pickups, ideally locally sourced. Because contrary to the big manufacturers who benefit from scale, there is no point here in trying to save money on these items. The difference in the sound and playability is well worth the little bit of extra money.

The design and layout is the first and critical step. Working with the player we can decide on shape, features such as tummy cut, beveled armrest, placement of the controls, etc. This produces the front template that will be used later to shape the body.

The neck also gets lays out on the neck blank, the first step is to route the channel for the trussrod, before the fret board is glued on.

This slab of ash will become the guitar's body. the heart of the tree and any unstable areas are removed then the pieces are planned and assembled to make the body blank.

The outline is marked on the body blank - here a flame maple top was added to this guitar- and then cut out using the bandsaw.

There is always something you can work on in guitar making, while the body is being glued up for example you can work on the neck, here cutting the fret slots before contouring the neck.

Once the outline for the body cut out, comes the time for hollowing out the various cavities, carving the various shapes and profiles needed.

Once the outline of the neck cut out, the fret markers inlayed, the fret board radiused to the chosen radius, I crown the frets and hammer them in. The extra length is snipped off and then starts the intricate and laborious but critical fret dressing work, a step often skipped by factory made instruments since it is so labour intensive.

Filling the fret ends flush and to a specific angle...

Levelling the frets so there are no high or low points and ultimately contributing, along with other factors, to not having fret buzz...

Crowning of the frets to give them back their shape after being filed down...you want the string to have a limited but confident point of contact with the fret.

Dressing the fret ends to remove the burs...

And polishing the frets to make them nice and smooth and shiny, necessary for good playability and bends.

Meanwhile the shaping and sanding of the body has continued to ready it for finish, here drilling for the strings and bridge pilot holes.

This intricate and delicate jig montage is to rout the neck pocket, critical step to securing the neck to the body since you want to be sure the neck is not set too deep, to low on the body or skewed one way or the other!

The neck profite is shaped by hand using various tools

The neck profile and thickness acheived, the transitions between neck and headstock and neck and heel are sculpted using rasps and files.

The name is carved into the headstock by hand and then using a mix of epoxy resin and stain the gaps are filled thensanded flush once hardened.

Neck and body are now ready for finish

Neck and body are now ready for finish

Layers of stain are applied...then the final coats to seal it, either oils or varnishes can be used depending on the finish desired.

Time for some soldering and electronics work to install the ''guts'' of the guitar and give it a voice.

After assembly and stringing comes the time for the process of adjustments; string action, intonation, fret buzz, neck bow, string radius. another step of intense manual labour but critical to a great playing instrument.

Time to play the new Flez!

