Fleming Music Australia STL 120 User manual

DIY GUITAR KIT
DIY GUITAR KITDIY GUITAR KIT
DIY GUITAR KIT
STL 120
STL 120STL 120
STL 120
Joint: Bolt-on
Body: Alder
Neck: Maple
Fingerboard: Maple
Tuning Machines: Chrome Die-cast
cale Length: 648 mm/ 25.5"
Fret: 22
Control: 1V, 1T, 3-Way elector
Pickups: -
Hardware: Chrome
Bridge: Fixed Hard tail
Pickguard: 1-Ply Black Pickguard

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STL 120 FLEMING DIY GUITAR KIT Assembly Instructions
Please read these instructions carefully before beginning in order to have a
complete overview of the project. There are six steps that you will follow to
complete your Electric Guitar Kit.
1. Check and Identify Parts
2. Finishing the Body and Neck
3. Shaping the Headstock
4. Assembling the Body
5. Assembling the Neck
6. Setup
CHECK AND IDENTIFY PARTS
Following is the list of parts that are included with your kit. In the unlikely
event that parts are missing from your kit you may order replacements from
your local music shop or directly from us.
Quantity Description
A 1 Alder Body
B 1 Maple Neck (Maple Fingerboard)
C 1 Rhythm Pickup (Neck Position)
D 1 Single Ply Pickguard (Black)
E 1 Chrome Bridge Assembly
F 1 Ground Wire
G 1 Chrome Control Plate (C/W 2 x control pots and knobs)
H 1 Output Jack on Chrome Output Jack Plate
I Set of 6 Chrome Tuning Machines, Washers, Bushings & Screws
J Set of 2 Chrome Strings Tees, Spacers and Screws
K 1 Chrome Neck Plate and Neck Plate Pad
L Set of 6 Bridge Screws
M 1 Guitar Lead
N 2 Chrome Strap Buttons, Screws and Rubber Washers
FINISHING THE BODY AND NECK
Although the overall tone and playing characteristics of the instrument will not
be affected, a high quality finish is a real source of pride to the builder.
Both the neck and body of your FLEMING DIY Electric Guitar Kit have been
sanded and are ready for your final sanding and finishing.

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FINISHING THE BODY
First you will need to decide whether you would like a natural finish or a
coloured finish on the body. For a natural finish go directly to Clear Coat.
COLOR COAT
For the colour coat your first stop is a shop that specializes in automotive
products or any shop that sells acrylic paints (e.g. your local hardware store).
The acrylic lacquer made by the automotive industry is particularly well suited
to your needs. In addition to providing a full range of colour choices, acrylic
lacquer is extremely durable and resistant to cracking.
Choose your colour from the many available shades (including metallic
options) used for automobile touch up work. A spray can will make your job
much easier and produce fine results.
Hang the body as shown in Figure 1. Begin each spray stroke in the air on
one side of the body and continue until you reach the air on the other side.
Overlap each stroke by one half, and every other stroke spray crosswise, then
length wise. This technique will provide an even colour distribution.
Although lacquer dries quickly, and successive coats may be sprayed in a
short period of time, attempts to spray too much in one coat can result in runs
or bubbles in the finish. Spraying should not be attempted on excessively
humid or rainy days.
One or two coats of colour should be enough. It should not be necessary to
sand between coats unless there are drips, runs or bug feet (!) to be levelled.
All exposed surfaces should be dead level and have a nice satin gloss.
CLEAR COAT
The clear lacquer topcoat is also available at most auto parts store. If you
have applied a colour coat, it is advisable to select the same brand of clear
lacquer to assure compatibility.
The clear coat is applied to the body using the same technique as described
for the colour coat. Two or three coats of clear should be adequate.
For best results the body finish should be allowed to harden for one week
before the final rub out and polish.
Note: To avoid runs and drips, hold can 6-10 inches from surface. For
best results follow directions on spray can.
CAUTION: Remember that spray paint is extremely flammable. Do not spray
near open flames, heat or sparks. The area where you spray must be well
ventilated while spraying and until all vapour is gone. Do not smoke! Do not
breathe the vapour and keep doors and windows open during application and
drying.

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SHAPING THE HEADSTOCK
The peg head of the STL 120 has been left slightly oversized and here is a
chance to express your individuality and to make a guitar that is truly your
own. First, decide on the shape of the headstock that you would like to use
and draw the outline on the top surface of the peg head.
- Using a bandsaw or simple coping saw, cut out the shape of your headstock
A half round file should be used to level the contoured edge of the peg head.
Finally, the edge should be sanded smooth with fine 400 grit sandpaper.
- Now you can “Sign” your head stock and draw your own designed “logo”
onto the head stock. Practice on some plain paper first. Tracing paper is very
helpful for this process. Note: Some headstock shapes are protected by
trademark restrictions and we do not recommend that you use them.
NECK (PART B)
Before application of the finish to the back of your neck, the fingerboard
should be masked off to prevent finish from adhering to the fretted surface
(see Figure 3). A screw can be inserted temporarily in one of the four holes at
the heel which will later be used for attaching the neck to the body. Secure a
wire or cord to that screw so that the neck can be hung during spraying.
The neck is traditionally finished clear and the clear lacquer that you used for
the body is recommended. Spray all exposed surfaces including the face of
the headstock evenly. The neck of your guitar has been not been sealed so it
may be necessary to sand between coats. You will need to sand if runs,
orange peel or drips appear. Use the same procedure that you followed on
the body – again, two or three coats should do the job. Final rub out and
polishing takes place about one week later when the lacquer has cured.

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FINAL RUBBING AND POLISHING
After allowing the clear, lacquered surfaces to dry and harden for at least one
week, sand lightly with non-loading 400 grit sandpaper. During sanding be
sure to place a firm material behind the sandpaper (a sanding block for
example) A large rubber eraser works fine. The eraser is flexible enough to
sand the gradual curves but is stiff enough to prevent the sharper edges (of
the headstock, for example) from being rounded off. Be sure to sand with the
grain of the wood.
All sanded surfaces should now be a bit dull, indicating that the finish is flat
and level. Now repeat the sanding process with very fine 600 grit sandpaper
using water and a small amount of dishwashing detergent as a lubricant. This
will remove any sanding marks left by the previous step and leave all surfaces
a dull gloss.
The finish may now be rubbed out using a medium grade automotive rubbing
compound (DuPont White Polishing Compound for example). The compound
should be used sparingly with fairly good pressure at first –– as a high gloss
develops, pressure should be diminished. An extra fine grade of polishing
compound may be used to get that final bit of gloss. If instructions have been
followed you should now have a professional quality finish. You can protect
your work with a light wax –– Martin Guitar Polish for example.
ASSEMBLING THE BODY
1. RHYTHM PICKUP (PART C)
The cavity for the rhythm pickup is located on the upper part of the body
closest to the neck pocket. As you look into the cavity you will notice that a
14” hole has been drilled that connects the cavity for the rhythm pickup to the
cavity below that will house the lead pickup.
Run the black & white wires attached to the rhythm pickup into the 14” hole
from the rhythm pickup cavity to the main pickup cavity (see Figure 3). Use
two 34” screws to attach the rhythm pickup.
2. PICKGUARD (PART D)
Attach the pickguard to the body using the eight 1/2” screws provided.

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3. BRIDGE ASSEMBLY (PART E)
First, let’s clean up the main pickup cavity by running the black and white
wires through the 14” hole into the control plate cavity.
Run the blue ground wire (Part F) through the small hole in the top of the body
below the main pickup area. When it emerges in the main pickup cavity push
it through the hole in the side wall into the control plate cavity. Notice that the
blue wire is formed into a loop will be wound around the centre screw that will
be used to attach the bridge assembly. This will ground the circuit.
There are two wires attached to the lead pickup assembly. One is red and the
other is yellow. These wires will also be run through the hole from the lead
pickup cavity to the control plate cavity.
Attach the bridge assembly to the body using three 1” screw. Install the centre
screw first, carefully wrapping the exposed end of the ground wire around it.
Control Plate (Part G)
The cavity for the control plate should now look like a spaghetti factory with
five wires hanging out! This wiring is colour coded to match the wiring on the
control plate itself.
Slide a piece of shrink tubing (if available) on each wire and connect black to
black, white to white, red to red etc. Carefully slide the shrink tube over the
connection and heat the tubing with a match to permanently seal the
connection.

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At the end of the green wire you will see the output jack. Push the output jack
and its wire through the 7/8” hole that has been drilled between the cavity and
the edge of the body.
- Attach the output jack plate (Part H) to the output jack using the washer and
nut provided. Screw the output jack plate to the body with two 1/2” screws.
Carefully stuff all of the “spaghetti” into the control plate cavity and attach the
control plate to the body with two 1/2’ screws.
Use a soldering iron to connect your wires and electrical tape to cover the
join.
ASSEMBLING THE NECK
TUNERS (PART J)
Push the 6 tuners into the back of the headstock and then using the 6 very
small screws provided, screw them to the back of the headstock. Then place
the tuner washers onto the bushings and place the six bushings onto the
tuner pegs that are now sticking through the headstock. Using a 10mm
spanner slightly tighten the bushings to the main tuner pegs.
STRING TREE (PART K)
This step can be done after the guitar strings are on your guitar and you have an exact
position to put them in. Make sure to loosen the strings a bit when doing this step!
The string tree is now attached to the peg head (see Figure 4). Locate the
small hole in the face of the peg head about 3 inches above the string nut.
Slip the string notches onto the screw followed by the round cylindrical
spacer.
The string tree pulls the first and second strings of the guitar downward. That
downward pressure will keep the strings from popping out of the nut slots
while you are playing.
NECKBODY ATTACHMENT
Now you can attach the neck to the body using the four large screws. The
neck plate acts as a large washer and covers the locator hole on the back of
the body. It is a personal preference if you use the neck plate pad (the black
plastic piece that sits behind the chrome neck plate – it serves no actual
purpose)
- Holding the neck firmly against the body, use a large head phillips screw
driver to screw in the screws. Watch that no gap appears between the body
and the heel of the neck.

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Figure 4
SET UP
Put on the strings and tune to pitch.
1. TRUSS ROD ADJUSTMENT
The adjustable truss rod in the neck of your FLEMING Guitar has been shop
adjusted and should not require any change. If the neck should develop a dip
or hollow spot over time it can be removed by tightening the truss rod
adjustment nut that protrudes from the base of the headstock just above the
nut.
- A ‘back bow’ or ‘hog-back’ can be removed by loosening the nut. Great care
should be taken with truss rod adjustments where as little as 1/4 of a turn can
vastly alter the shape of a neck.
2. STRING ACTION
The string action refers to the height of the strings above the frets. If the
action is too low, the strings will buzz on the frets. If it is too high the guitar will
be difficult to play.
3. ACTION AT THE NUT
Setting the string action that is right for you starts at the string nut. The slots at
the string nut should already be close to perfection but you might want to
make some adjustment. Here’s how to do it!

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Push the sixth string down between second and third fret. The space between
the top of the first fret and the bottom of the string should be about .006″or
just about the thickness of the paper that these instructions are written on. If
the gap is wider than .006″you should deepen the slot with a small needle file
until it is correct. DO NOT FILE TOO DEEP! If the slot is too deep you can fill
the slots with a mixture of white plastic sanding dust and super glue and then
re-shape the slot.
Repeat this same procedure for the other 5 strings. The action at the nut is
either right or wrong; it is not a matter of personal preference.
Now let’s adjust the height of the strings over the 12th fret. Minor adjustments
in the string action can be made by raising or lowering the individual saddles
on the tremolo bridge with the small hex key that has been provided with your
FLEMING Guitar Kit. Following is a chart to assist you. This action adjustment
is a matter of personal preference. There should be a gradual increase in
height from the first to the sixth string.
STRING HEIGHT AT THE 12TH FRET
First String Sixth String
Low Action 1/32″1/16″
Medium Action 1/16″3/32″
High Action 3/32″1/8″
Action can also be adjusted by changing the angle of the neck. This can be
done by inserting small shims between the neck and the body to increase or
decrease the neck angle.
4. INTONATION
The saddles on the tremolo bridge can be adjusted to compensate for the
pitch modification that occurs when the string is stretched as it is fretted. This
adjustment is made by tightening or loosening the set screws at the rear of
the tremolo bridge.
Start by tuning your guitar and sounding a harmonic chime directly above the
twelfth fret on the sixth string. Now fret the sixth string at the twelfth fret and
compare that pitch to the harmonic. If the fretted note is higher than the
harmonic pitch tighten the set screw to lengthen the string. If the fretted note
is lower than the harmonic, loosen the set screw to shorten the string length.
When the harmonic and the fretted note sound the same note, the saddle is at
the correct position. Repeat this procedure for the other five strings.
5. PICKUP HEIGHT
Each single coil pickup is adjustable on the bass and treble sides. Finding the
best combination of tone and volume will require some experimentation. A
good place to start is to adjust the pickup height so that the first string is about
1/8″over the pickup pole and the sixth string is about 3/6 ″over its pole.
Electric Guitar setup is an art in itself. For more detailed discussion we highly
recommend doing an internet search on "Electric Guitar Setups”. There is a
huge amount of free information available for free on the internet today.
Web sites to visit: www.flemingmusic.com.au & www.lacemusic.com.au

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