Mini-Tele - Part 1

Bigger isn't always better!

Like most people that have both children and guitars - I fight a battle.

I really want my son to be interested in music (and being interested in guitars would be A-Okay with me) but I also want my guitars to survive the experience.  I tried early on to demystify the instruments themselves by having him touch, hold, and play some of the more 'durable' items in my collection.  I figured the cheap and cheery Epiphone mandolin would be a better introduction than the near vintage PRS.  Fingers crossed - it seems to have worked.  He's interested in electrics and careful with the acoustics.  You can't ask for much more than that from a 7-year-old.

So, when my son asked me if I would make him a guitar - I had to pause.

Of course, I want to build him a guitar!  I've been waiting for this moment for over 7 years.  I can't wait until he's 16 and he can tell me exactly what pickups he wants in the thing.  But for now - he's 7 and may very well play it once and never touch it again.  So, how do I proceed...?

The thing about guitars for kids is that – you can’t just put a Les Paul in a 7-year-old’s hand and say, “Good Luck!”  It weighs more than he does and it’s almost as tall as he is.  Usually, guitar stores will sell ¾ sized instruments for kids taking up the 6-string but I did the math on that and it would still be pretty big on him. 

Judge me by my size, do you?

About 6 months prior to this post I saw a short scale neck for sale on GFS' factory blowout page.  It was less than $25 and a short enough scale (20.5 inches) that he might be able to play it.  So, I bought it and showed it to him.  He was excited.   I asked him what color he wanted it.  "Gold!" was his only answer.  ...like for all of it.  Gold body, gold hardware, gold headstock.

Don't stop believin', kid.  Gold it is.

So, here I am building a starter guitar for my son.  I'm going low budget on this one as it may end up being a wall hanger but let's see what kind of mess we can make, eh?

I thought you'd be... bigger...

I started with a Poplar body.  Mainly because I could get a slab of wood in the right size.  If I'm careful with the cuts - I might get four bodies out of this plank - and that'll work out to about $20 a body - not too shabby.  If for no other reason it'll be great for working on prototype body shapes - even if this is the only body that gets turned into a full guitar.  (Editor’s note:  if I do this again – I’ll use Basswood.  Poplar was fantastic to work with but it’s a bit too heavy for little guys).

I found a full-size image online for a Telecaster shape and shrunk it down in Photoshop.  I went with the Tele-style - again to keep it simple and to maybe finish the build before he goes to High School.  Tele's don't need a bunch of shaping like a Strat or a Les Paul.  And since I've already built one - it "should" be easier to build.

We'll see how that goes. (Narrator voice-over: it didn’t go how he planned).

Shrinkage

As you would expect if you've been reading this blog for more than 5 minutes.  There's tracing, cutting, and sanding in my immediate future.

Rough & Not-So-Ready

 As you can see from the full-sized template under it - the Mini-Tele body is probably 25% to 35% percent smaller than a normal telecaster body.  I forgot to note how much I reduced the original image file prior to printing it out.  I also made some free-hand changes to the design to better work with the slab of wood I had (read: I made a mistake with my math and had to fudge it a bit).

Ye Olde Schoole

 I also decided to build this guitar in the same way that I built my first one - with a jig-saw rather than a router.  There was no good reason for this - it just felt like a good idea.

"Say hello to my little friend!"

 To fix all those lovely rough edges I used a belt/disc sander.  Seriously, where was this thing when I did this the first time?  These are super-handy if you are a sloppy builder (like me).

There's a little bit of rock in there.

 And here's where I left off after day #1.  Sadly, I didn't record all the steps so the next posts may jump around a bit.

Tear Outs (my hair outs)

So, until I decide what kind of a guitar I'm going to carve this body blank into - I shall dub thee: Number 2.  And to be honest - that's how I felt about this one after I spent some time with it - a little poopy.

This sat in the clamps for about 24 hours.  As I was taking the clamps off I knew there were three things about this body blank that were different than the other one (dubbed #1, for now).

Maple laminations that needed to be worked against the figure.

Yellow heart - which I've never worked with before.

The Mahogany was not as square as it should have been.

First the maple.  Maple is the R. Lee Ermey of luthier woods.  Maple is like, "Come in, sit down, and have a hot cup of 'shut the f--- up and do it my way!'  Flamed maple in my (limited) experience has a mind of it's own.  It's much harder than mahogany to chisel, scrape, and sand.  It's a denser wood.  And the kicker is that the beautiful figure (sometimes called tiger, flamed or curly) are the wood fibers turning and twisting - which seems to make tear-out a common occurrence.  Fun!

Second?  Yup, Yellowheart also has a propensity for tear-out it too.

I dodged a bullet with number three.  I was able to get a good joint with the Mahogany.  There are some noticeable gaps in one spot - but they will be scraps on the floor when I'm done.

So, let's plane those high spots...

Looks pretty, right?  Almost like I know what I'm doing, hmmm?  When you use a wood plane - you want those long, thin, curly shavings.  If you get really good at it they can be so thin they are translucent.  Take a closer look.  There are about four or five good passes in that pile.  The rest are closer to wood chips than shavings.  And that's because I have no idea what I'm doing.

Okay, maybe not "no idea" but close.  I'm still learning how to use a hand plane - so there were a lot of digs, dings, and tear-outs to the surface.  Take a look at the below picture.  This is the better of the two sides.  See all those dark spots on the Yellowheart?  Those are all tear outs.  The maple is in similar shape - just not in this spot

I tell you this not because I like beating up on myself - but rather as a cautionary tale: practice on scraps.  Learn to use your tools before you viciously attack your work pieces.  I am (as anyone who knows me will attest) a slow learner - just making the same mistakes over and over.

Here endeth the lesson.

I will say that this body blank will look good when I figure out the best way to work with it.  The wood combination is pretty sexy - and is only going to get more so when it's got some relief to it.

Hmmm...

Those clamps are free to glue up another lamination. 

...and I do have enough of this mahogany left for one more body blank...

 Sadly, this is going to have to wait a bit.  That wood in the middle (the reddish-brown one on the right) is called Cocobolo.  It is my favorite wood but it is also like trying to work with sticky steel.  It's hard as a rock (the wood doesn't float - it sinks) and it is so gummy it clogs up sandpaper and files.  That piece is rough sawn.  I'll need a thickness planer to even begin to work with that wood.

...hmmm...

Image is everything

The lamination sat in the clamps for about 48 hours.  I then brought everything back to the workshop - took off all the clamps - and was left with...

...at this point you may be questioning my taste.

Looks pretty ugly, huh?

Hold that thought...

There.  That's better!

So, what just happened?

After removing the clamps, I took a small surface plane to the thinner laminations (the lacewood, basswood, and purpleheart) because they were about an 1/8th to 1/4 of an inch proud of the mahogany.  Once all of the pieces in the lamination were roughly the same height I busted out the sander and some 60/80 grit sandpapers.  It's dusty work (and not really necessary at this point as we'll see) but it's hard to argue with the results.

Results.

Results.

Full disclosure - I also changed the lighting a bit and wiped the piece down with mineral spirits.  That's the real reason the grain is popping so much.  The mineral spirits gives you a preview of what the wood will look like once a finish has been applied.  The nice thing about using mineral spirits is that it evaporates quickly and doesn't raise the wood grain like water.

In the close-up images above you can really see the figure of the Mahogany and the 'laces' of the Lacewood.  

The truth is though - that everything after taking the piece out of the clamps and planing the lamination flush was a waste of time.  I am going to be carving the top of this guitar.

See the image below for what I mean.  See how there is a sculpted aspect to the shape of the top.  That's a carved top - and they are purdy.

This particular image comes from http://williamsguitars.co.uk

I'm not ready to carve this top yet - so sanding it was not really necessary.  I did it more for inspiration than anything else.  Hence the title of the post.  Image is everything.  Seeing what this is going to look like when it's completed is a motivating factor for me.  I want to see that final finish. That's why I've done this on each of the guitars I've worked on to this point.  Psyching yourself up can be the difference between the woodshed and the couch.  At least that's what I tell myself...

Back to business!

When I planed down the laminations I created a few-tear outs.  Mostly because I've never tried using a hand plane to smooth a surface.  Previously I've used card scrapers, rasps, and sandpaper.  But sanding 1/4 of an inch just takes forever - so I figured I'd try using the hand plane.  Once you get the blasted thing sharp enough and set up properly (and you are using it correctly!) - it's wonderful to use.

You can see one tear-out in the Mahogany in the below picture.  It's the little black spot just above the laminations on the right.  At some point I'm going to need to sand, scrape or fill that hole.  

It was caused because I was planing against the grain of the Mahogany.  I was planing with the grain of the lacewood - but when I glued the Mahogany to the lacewood - I glued them with opposing wood grains.  Would an experienced woodworker have done that?  Probably not.  But also remember that plywood is stronger than regular wood because the laminations have opposing grains.  So, what I'm saying is: Could be good.  Could be bad.  Time will tell.

I was concerned that there might be gaps in the laminations - either because I didn't prep them well enough (read made them square) or because I didn't squeeze them hard enough when clamping them.

I seem to have done okay.  There are a couple of gaps but if I play my cards right - they will be scrap wood on the floor once I cut the body shape out of this blank.  Again, time will tell.

In short - I'm happy and ready to move forward with this build.

So, now that I've freed up all of those clamps I guess it's time to look at that other body blank...

Hmmm...

Round 2: Fight!