Les Paul Build - Part 4

Fretboard (con't)

After the inlay cavities were cut, I was able to glue the inlays in place using Super Glue gel. My research has shown me that some people use Super Glue and some use tinted epoxy (fills the gaps with the squeezeout). I chose the Super Glue since the setup time is 15-30 seconds, and I didn't want to feel rushed to complete the glue-up before the epoxy cured.

Even though the SUper Glue develops full strength after 10 minutes, I waited a few hours before I started leveling the inlays. For the leveling, I started with a file to get the edges that protuded from the radius. As long as I was careful not to file the fretboard, I could get the inlay very close to flush with the file alone. Once I was done filing, I taped some 150grit sandpaper to a radiused sanding block that matches the 12" radius on the fretboard. I chose 150grit sandpaper because I was out of 100grit, and I was ready to sand, not run to the hardware store. Unfortunatly, the inlay at the 1st fret was set about 1/64" below the fretboard surface in the center, so I had to sand the entire board down to meet it.

The benefit of sanding the fretboard down is that I produced plenty of rosewood dust to mix with the epoxy I used for filling the gaps in the inlays. I tried this sawdust method before for filling knot holes, but since knots are generally darker, the match was always too light, so I always preferred using clear epoxy. Since the rosewood is dark, and the standard practice is to use sawdust, I thought I'd give it a try. Due to the temperature in the shop, I used a heatgun to help get the epoxy to flow into the gaps. After the epoxy hardened, I filed, scraped, and sanded the excess. Overall, I was very happy with the results.

Close-Up of Inlay

While the sides of the fretboard were still parallel, I cut the fretboard to final lenght. Since this was a pre-slotted board, the 1st fret end was already cut, but the other end contained 2 extra fret slots (the Les Paul is a 22 fret guitar, the fretboard was cut for 24). Using the tablesaw with a cross-cut sled, I cut the fretboard to length at the slot for the 23rd fret.

Tapering the fretboard began with aligning the center of the fretboard with the center of the neck. I used the edges of the truss rod cavity as reference points, since it was centered when originally cut. After making alignment marks, I clamped the fretboard to the neck and marked the width at the nut and at the beginning of the neck joint. Using a straightedge and marking knife, I connected these marks and extended them to the end of the fretboard. My layout matches the plan, which specifies the width at each end of the fretboard. In order to account for the binding, I scribed another line 1/32" in-board, which will be the actual cut line for the taper. To cut the taper on each side, I taped straight piece of 1/2" plywood right on the scribe line, cut the excess on the bandsaw, and trimmed it flush with a pattern bit on the router.

Using Super Glue gel and reinforced packing tape, and attached the binding on each side of the fretboard. After the sides were complete, I cut and fit the binding for the end of the fretboard and installed it as well.

Binding Taped to Fretboard

After a few hours, I removed the tape and trimmed the binding flush with a block plane and scraper.

Tapered and Bound Fretboard

Next, I marked the locations for the side marker dots and headed over the drillpress. Using a 3/32" bit, I drilled 1/4" deep for each marker. The depth wasn't specified, so 1/4" seemed like a good number. In order for the side dots to look round, it was necessary to drill the holes perpendicular to the fretboard side. Due to the taper, I had to shim and clamp the fretboard into the proper position. I used the back of my drill press fence as a carriage for the fretboard. I repositioned the clamped assembly for each hole. The drill cuts through the binding very easily, so I had no issues following my lightly center-punched hole locations.

Drilling the Side Marker Holes

With a few drops of regular Super Glue in the hole, I installed each side dot and cut the excess with a small side-cutter. I quickly trimmed the dots flush with a light touch on the block plane and scraper. I didn't worry about getting it perfect, since the binding flushness will be tweaked after gluing the fretboard to the neck.


Headstock Veneer

After completing the fretboard, I set it aside and started to veneer the headstock. I marked and very roughly cut the ebony veneer to an oversized shape. After marking some reference points, I used a scroll saw to cut an access hole for the truss-rod. At this point, I realized that I would need to install the truss-rod prior to the gluing the headstock veneer. With a few dabs of silicone (as specified by Stew Mac), I installed the truss-rod and set the neck aside. After the silicone had set up, I was able to glue the headstock veneer to the headstock. 3 Bessey's and 2 F-clamps were probably overkill, but since the veneer was only 3/32", I wanted to ensure an even bond. Besides, why buy the clamps if you don't use them? :)

Gluing Headstock Veneer

Control Cavity Covers

I decided to work on the control and switch cavity covers next. Instead of purchasing covers, I planed a peice of walnut down to 0.110". Since my planer can't cut thinner than 1/4", I taped the board to 1/2" MDF to act as a sled. Next, I attached the templates, rough cut, and trimmed the peices flush to the template. While the template was still attached, I drilled 1/16" holes through the covers. This hole will be enlarged and counter-sunk after I use it to mark the screw locations on the body.

The next step is to cut the lip around the cavities so the covers sit flush to the back of the body. After attaching the template and setting the router to the proper depth, I routed the cavity lips.
During the finishing process, the walnut will be dyed black in order to simulate ebony.

Control and Switch Covers

Coming Up...

I finally received the curly maple for the top of the body, so my next steps will be bookmatching, edge-joining, and attaching the maple top. I've been looking forward to this step, so I can see how well the spiral head in my planer can handle highly figured maple.

To finish up for the post, here's some eye candy (at least for a woodworker)...

Curly Maple Billet for Top