GUITAR KIT WORLD SG-style Guitar Kit User manual

SG-style Guitar Kit Assembly
Manual
This guide provides step-by-step instructions to build a solid-body SG-style DIY guitar using
a kit. Even if you have never built a DIY guitar before, you can learn how to get started by
reading this tutorial.
There’s nothing more satisfying than playing a guitar you have put together yourself!
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Project Tools and Consumables
Before we get started check the list below and ensure you have the necessary tools and
consumables required to complete the project.
Tools
● 2 X Timber clamps (*set neck guitar only)
● Electric jigsaw or coping saw (*If shaping the headstock)
● Steel ruler (at least 40cm)
● Hard sanding block
● Center punch (or similar tool for marking hole locations)
● Electric drill and assorted drill bits
● Large and small screwdrivers (phillips head and flat head)
● Pliers (needle nose preferably)
● Soldering iron
Consumables
● Disposable gloves
● Titebond, PVA, or similar wood glue (*set neck guitar)
● Small paintbrush
● Wood grain filler (If open grain timber such as Mahogany or Oak)
● Sandpaper. Various grades, from 120 up to 1500 (*depends on finish)
● Finishing supplies. (This depends on your choice of finish)
● Painters masking tape
● Assortment of clean rags and paper towel
● Denatured alcohol (or cleaning product with degreasing ability)
● 0000 fine grade steel wool
● Solder (and sponge for cleaning tip of iron)
● Container for storing finishing supplies.
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Next, check that all parts have been included.
Parts List
Below are the parts you will find included in your packaging to complete an SG guitar kit.
● SG-style body & neck
● Neck plate, neck plate cushion and screws (if bolt-on neck)
● 2 x Strap buttons
● 3 + 3 tuners (three left oriented and three right)
● Stud mounted Tune-O-matic style bridge with tailpiece
● Neck and bridge humbuckers
● 2 x volume, 2 x tone controls, 2 x capacitors, 1 x 3 way pickup selector, and input
jack
● Truss rod cover, pick guard and electronics cavity cover
● Cable and hex wrench (for adjusting truss rod)
● Tone and volume knobs
● Assorted screws and washers
Safety Precautions
To complete your guitar kit safely, also ensure you have the following on hand, and a well
ventilated work space to work in.
Protective eyewear
Use protective safety glasses or a genuine face shield, not regular prescription, reading, or
sunglasses.
Disposable gloves
Use disposable gloves if applying stains or oil finishes directly to the guitar.
Masks
Use an N95 rated dust mask for sanding and an R95 rated particle mask for finishing. If
using water based finishing products an N95 dust mask may suffice for both sanding and
finishing, but be sure to check the finishing suppliers recommendations first. Paint fumes
are dangerous.
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A well ventilated work area
Ensure your work space is well ventilated, especially when finishing to prevent a build up of
potentially toxic fumes.
Making your Guitar Kit play and sound great
There are four stages to building a great kit guitar, these are:
1. Preparation and finishing
The finished surface appearance of your guitar e.g. staining, painting, or applying a hand
rubbed oil finish.
2. Hardware Installation
Fitting the tuners, strap buttons, bridge, and pickups.
3. Connecting the electronics
Connecting the pickups to the input jack, and incorporating a pickup selector and volume
and tone potentiometers.
4. Final Setup
Adjusting the neck relief, action, intonation and pickup height.
We’ll cover each of these below, starting with preparation and finishing.
1. Preparation and finishing
Inspecting the body
Once unboxed, carefully inspect the guitar body and neck under decent light.
Identify problem areas, as these should be addressed early on before commencing the
project.
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This includes large dents that require filling, deep scratches that require sanding and glue
residue on the surface of the guitar that will prevent your finish from being absorbed evenly.
Glue stains will only be a potential issue for guitars with binding, and/or a veneer top.
Dry fitting the neck
Insert the Neck
First push the heel gently into the back of the neck pocket, then push the neck down flat.
This reduces the risk of chipping the thin edges of the neck pocket before the neck has
been installed.
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Check the scale length
You can check the location of your bridge post holes with regard to scale length by
measuring the distance from the edge of the nut closest to the fretboard and the middle of
the 12th fret and then doubling that number. An SG guitar kit should have a scale length of
24.75” or 628mm.
If your scale length appears out by a few mm, keep in mind the position of the bridge is
angled to compensate for the additional mass of the thicker bass strings and the saddles
can be adjusted forward or back via the intonation adjustment screws.
Check the neck alignment
The neck, once inserted into the neck pocket, should have very little sideways movement. If
it does, mark the center on the neck heel and align this with the center of your neck and
bridge pickup cavities.
If this results in a gap on either side of the neck, you may need to shim the neck by cutting
small sections of scrap wood with a craft knife and gluing these to the sides of the neck
pocket. Otherwise smaller gaps can be filled prior to finishing using a filler.
Check the neck angle
Keeping the bridge and steel ruler in place after checking your neck alignment, run the steel
ruler along the fretboard and over the bridge.
The steel ruler should sit just above the saddles on the bridge when the bridge is sitting flat
against the body.
Cutting the Headstock
If shaping your headstock, start out by sketching out some rough concepts before
transferring the chosen design to paper at the correct size.
When designing your headstock be sure to leave a margin of at least 15mm from the last
tuning hole and the edge of the headstock (the equivalent distance between the tuning peg
holes).
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1. Once you have a completed design at the correct size cut the shape out and glue it
to a thin scrap piece of timber to be used as a template. (You can also use
cardboard which in many cases will be easier to work with).
2. Using a coping saw, jigsaw, or ideally a bandsaw cut out the headstock shape and
sand the edges of your template smooth.
3. Taking a small clamp, clamp the template to the headstock and carefully trace the
outline.
From there you can either cut the new headstock shape using the template as a guide, or
remove the clamps and cut following the outlines you just made.
When cutting out your headstock shape protect the neck of the guitar when cutting, cut well
outside the lines to allow room for sanding and keep your saw as vertical as possible to
ensure straight lines on your headstock.
If unsure keep the design simple. A well executed simple design is better than a poorly
executed complex one. Once complete, sand the edges until as smooth as the rest of the
body and neck.
Setting the Neck
If you have a bolt-on neck guitar you can install the neck once you have completed the
finishing stage, but construct a handle from a section of scrap wood. This will allow you to
handle the guitar when finishing.
1. Clean out the neck pocket and heel of the neck. Remove any dust using a brush and
ensure the neck cavity is clean.
2. Using a paint brush apply PVA or similar product evenly on the bottom of the neck
pocket and the neck heel. Ensure you have an even coating on both surfaces.
3. Clamp the neck to the body of the guitar. You can use one, but two clamps is
recommended. Ensure you have scrap wood on hand to protect the surface of the
guitar when clamping and clamp firmly.
4. Follow the product recommendations with regard to when you can safely remove the
clamps and handle the guitar. In most cases leaving the guitar overnight will suffice.
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Prepping the body
Check the body carefully again for glue stains. In most cases glue stains can be sanded out
but if you notice stains on a veneer top, keep in mind the veneer is quite thin and you
should first try to remove with a small amount of warm water and a clean rag.
Next we’ll move onto prep sanding the body and neck.
Start by sanding the entire body using 180 grit sandpaper and follow that up with 240 grit
paper. If you are applying a stain directly to the raw wood sand up to 400 grit, but sanding
any smoother than this may begin to affect how well the stain is absorbed.
Once you have completed sanding up to 240 grit, wipe a small amount of moisture on the
surface of the guitar. Using denatured alcohol is a good option here as it evaporates before
it is absorbed into the timber, but water will also suffice.
This will raise the grain of the timber which can then be sanded flat. Generally grain will only
raise once, so you can be confident you won’t have any problems during the finishing
process.
Grain Filling
Grain filling is optional, and mostly depends on the wood your guitar is made from and
whether you are aiming for a flat finish. If your guitar is made from an open grain timber
such as Oak or Mahogany, the open pores of the timber will prevent a flat finish unless
filled.
Basswood for the most part is optional. In most cases it’s advisable to grain fill but if
painting a solid color you can get by using a primer which will level and seal the surface.
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If you are staining, depending on the product you are using, you can grain fill either before
or after. In most cases I’ve found grain filling first results in a more even application, and a
better result.
There are a number of different grain fillers available, including solvent, water and oil based
options, along with pre-tinted options. Oil based grain fillers penetrate deeper into the wood,
but water is obviously easier to work with with regard to drying times and clean up.
Using a tinted grain filler is also a great option if you would like to accentuate the grain
pattern of the guitar as the excess will be removed when sanding but the filler used to fill the
pores will remain in place and emphasize the grain pattern of the wood.
Below are the steps required for applying grain fill:
1. Mix up enough product to grain fill the entire guitar. Follow the recommendations for
the product you are using in terms of application, cleanup and safety, then mix your
grain fill into a workable paste in a spare container.
2. Apply to the guitar using a clean rag, working in line with the grains pattern of the
wood. Next, work across the grain really pushing the grain fill into the wood, making
several passes.
3. Once finished applying, leave the guitar for ten minutes and then wipe away any
excess using a clean damp rag.
4. Once dry, sand back to the surface level of the guitar, working through the grades of
sandpaper from 120 grit to 240. Sand sufficiently to remove the excess grain fill but
not enough to dig into the wood and create more open pores.
5. Inspect the surface of the guitar and repeat the process if required.
Masking
You should also mask the neck pocket, and body cavities of your guitar when spraying a
finish of any kind.
Mask the tuning peg holes on the headstock to keep the holes clean, along with the holes
for the bridge and tailpiece and pay special attention to the truss rod. You should also mask
the fretboard when spraying the back of the neck.
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If your guitar has binding you can either attempt to mask off the binding, which in most
cases will mean some finish still permeates the masking tape and will need to be removed,
or not masking, and scraping the binding clean with a razor blade before spraying your clear
coats.
I’d normally scrape the binding as this is a more effective use of time, rather than attempting
to mask. But it’s best to mask the binding if you notice any cracks as the finish you apply will
permeate the binding staining it permanently.
Finishing
It’s beyond the scope of this guide to cover every available way to finish an electric guitar
but below are a few rules that apply to almost all finishing options:
● Carefully consider your finishing options with regard to how protective they are and
how they might affect tone along with aesthetics.
● Choose your type of finish based on the wood itself. For example, it would be a
shame to cover up a beautiful grain pattern with a solid color finish. Alternatively,
staining a less figured piece of basswood for example may not provide a great
aesthetic either.
● Wear gloves and a mask and work in a well ventilated area as required. Fumes from
some finishing products can be toxic.
● Clean the body of the guitar using a product that includes a degreasing agent.
● Wear disposable gloves when handling the guitar after cleaning.
● Make sure you are working in a relatively dust free environment and make sure to
clean the cavities of the guitar body thoroughly after sanding. Dust accumulates in
the cavities of the guitar, and when turning the guitar over that dust will become
airborne.
● If staining, make sure to wipe away any excess that hasn't been absorbed after
approximately ten minutes.
● Be aware of the compatibility of the products you use. If painting using spray cans I’d
recommend using the same brand and type of paint for your seal coat, color coat
and clear coats.
● If you have to spray outside avoid spraying on windy days.
● Spray the sides of the body first. That way when spraying the front and back you will
be spraying over any overspray from the sides of the guitar.
● Don’t spray heavy coats. In many cases, several lighter coats are a better option
than 1-2 heavy coats due to the potential for runs.
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