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U.S. Guitar Kits Acoustic Guitar Kit Assembly Instructions Manual

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U.S. Guitar Kits, Inc.
Assembly Instructions for Acoustic Guitar Kit
Welcome
Thank you for purchasing the kit. All the guitar components needed to build
your guitar are included to build a fine instrument. You will need glue,
finish, a variety of ordinary woodworking tools and average woodworking
skills. Knowledge of the use and sharpening of scrapers is crucial and
included is a set of instructions for this tool from a tool supplier.
Please note that although we warrant this kit to be free from defects in
materials and workmanship for 30 days from purchase, we cannot guarantee
the outcome of your instrument since skill levels vary greatly. If you take
your time and follow these instructions precisely and in the order in which
they are presented you will be rewarded with an instrument of which you
can be proud for a lifetime. Take your time, work carefully. Please keep
your kit sealed until ready to use to avoid problems due to moisture and
humidity. We will not replace parts that have been affected by moisture.
Always use safe methods while working and employ all safeguards
including safety glasses and other personal safety devices.
Copyright © 2010 by U.S. Guitar Kits, Inc. All rights reserved.

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Summary of Contents for U.S. Guitar Kits Acoustic Guitar Kit

  • Page 1 We will not replace parts that have been affected by moisture. Always use safe methods while working and employ all safeguards including safety glasses and other personal safety devices. Copyright © 2010 by U.S. Guitar Kits, Inc. All rights reserved.
  • Page 2 Tools, Jigs and Materials - 25-30 Spool Clamps; - Small router or laminate trimmer; - a rabbeting bit set that includes the following cuts; 1) 1” Cutting Diameter Bit 2) .88” Bearing-Binding Cut 3) .48 – Six Pieces of Purfling 4) .64 –...
  • Page 3 - 400, 600, 1000, 1500 grit sponge sanding pads, higher grit micro- mesh pads are optional depending on the desired sheen of the fingerboard; - a fret crowning file; - a small triangular file; - a bastard mill file; - a good wipe-on gel finish. Avoid stain and oil finishes and give preference to hard finishes such as lacquer or urethane.
  • Page 4 Guitar Terms & Anatomy The guitar is made up of several components. The following list is a list of those components that can be cross referenced to the diagram for easy identification. Not illustrated are: 1) Frets-Hammered/Pressed into the Fingerboard 2) Abalone Dots &...
  • Page 5 Main Objective: Preparing the top for glue up. Glue top and allow 2 hours of clamping time and prepare all small parts for assembly. Step One-Preparing the Top The top is pre-braced and you will begin by marking and cutting bracing and then thinning out the bracing on the ends to fit into the kerfed lining on the sides of the guitar.
  • Page 6 5) Cut the stretcher almost all the way through, put a shim in the kerf cut and re-tape it back together using blue tape. This is done so that once the top is glued on, the tape can be removed and the stretcher can be broken and removed through the sound hole.
  • Page 7 Looking at the space between the top and soundbox, mark the sides where the “X & shoulder” bracing contacts the soundbox. Two marks for each brace. Ie Left & Right. We will revisit these marks in Step 2-1. Make a solid mark on the back of the top 3/16”...
  • Page 8 Mark the ends of bracing that will touch the side kerfing 3/16” thick or simply lay a sharp pencil flat on the back and mark the ends of the bracing. Scallop the end of the bracing to the 3/16” mark. The shoulder brace can be left thick as this does not dramatically change the overall sound.
  • Page 9 Scalloping the ends of the Tone Braces Cut the end of the tone brace. Note: The ends of the tone braces do not touch the sides of the guitar. Mark the brace for scalloping. Note: Mark the trim line approximately 1/8” back from the existing curve and follow the same curve.
  • Page 10 Marking and Scalloping a Tone Brace...
  • Page 11 Bevel the sides of the braces and final smooth with 120 grit sandpaper. The Finger Brace The final shaping of a finger brace. Note: The end of the finger brace can be scalloped almost flush with the top. Scalloping the Braces The previous several photos are used to illustrate the methods used to trim away the heaviness of the braces to allow for better top vibration which produces better tone and volume.
  • Page 12 Tone Brace Lower X-Brace Brace Templates Cut out and lay on side of braces to mark Upper X-Brace Finger Brace...
  • Page 13 Step Two-Preparing the Sides for the Top The sides have lining already attached around the inside perimeter of the body of the soundbox. Lining provides a larger gluing surface for the top to attach. Each brace needs to be le t into the lining by cutting small pockets for the bracing to rest on.
  • Page 14 4) Continue to dry fit the top until it lays completely flush with the sides with even pressure all the way around. Note: Many makers like to sign their guitars. If you plan on autographing the guitar, now is the time. Step Three-Gluing the Top 1) Final dry fit the top to the sides making sure the top fits nicely.
  • Page 15 6) Using approximately 25-30 spools clamps, continue clamping about ¾” apart. 7) Set the assembly aside until the glue sets. With aliphatic resin (white or yellow glue) this means about 1 hour, preferably 2 hours. 8) Remove clamps. Note: Make sure the clamping pressure is over the sides and not over the middle or way over the sides as this will crack the top and likely create irreversible damage.
  • Page 16 Miscellaneous Parts Preparation: There are several small parts that need to be prepared for assembly and can be worked on in no particular order. 1) Using a tapered reamer slowly remove enough material to make the machines a press fit. Note: Backside of the headstock only!! Using a 3/8”...
  • Page 17 Main Objective Cut notch in top for neck tang. Set the neck angle. Prepare and glue the fingerboard to the neck. Cut groove for binding and glue top and back binding. Step Four- Cutting the notch in the top for the neck tang. Set up a small laminate router with a small bottom bearing flush trimming router bit and follow the groove of the neck tang.
  • Page 18 Next, you should place the fingerboard on top of the neck and the bridge in its rough location. Place the straight edge on top of the neck and project the out to the bridge. The straight edge should be above the height of the bridge between 1/32”...
  • Page 19 IMPORTANT NOTE: Be sure to initially touch the neck to the heel surface and check that the sanding mark is not just on one side. This will cause the neck to sit skewed on the body of the guitar. If the neck is sitting to far back, an adjustment of the table so that the heel closest to the top of the neck is pretty much the only thing being sanded and the bottom of the heel barely gets touched.
  • Page 20 The fingerboard should be able to lie flat on the top of the neck and the top without any gap under the fingerboard. If there is a gap, the pocket may need to be lowered. See High Tang/In Plane – Next page. Insert Neck Tang Once the neck is “in plane”...
  • Page 21 Step Six- Gluing the Fingerboard 1) Locate the truss rod. The truss rod is a threaded steel rod embedded in a square aluminum channel. It strengthens the neck and also allows the counteraction of string pull over time. Make sure there is no tension on the rod by turning the nut counterclockwise until you feel it is free.
  • Page 22 Step Seven- Flush Trimming the Top Note: Before flush trimming the top, make sure the inlay on the end of the body is flush/flat and where the sides meet at the neck block is also flat. This small detail will insure the router will follow evenly around the body especially when you cut the groove for the purfling.
  • Page 23 just slightly shallower that the height of the binding. It is preferable to be a little shallow instead of too deep because you have no room for sanding the wood flush to the binding. Go all the way around the body and cut the groove.
  • Page 24 from the wider binding strip, don’t worry about scraping this area. When you glue the binding on, the glue will re-adhere this spot. Note: All the layers of the “purfling” are attached to one another on one end. Before trying to glue all of the layers of the “purfling” and the binding for the top at the same time, unravel the “purfling”...
  • Page 25 Note: While scraping, be sure to scrape only the binding and NOT the sides or back veneer. The veneer is thin and scraping through will leave you with a noticeable mistake. Some finishing tricks can be performed to hide a small problem but try not to do this. Note: Don’t do any sanding at this time.
  • Page 26 Main Objective: Mark and glue the bridge, finish prep the neck. Step Ten-Marking and Gluing the Bridge. The bridge location is another critical step. There are several books, articles and tools to read up on to better understand this process. The key is to simply understand the distance from the nut to the twelfth fret needs to be equal to the distance from the twelfth fret to the saddle with “compensation.”...
  • Page 27 Eleven- Preparing the Fingerboard & Leveling the Fingerboard The fingerboard is the heart of the guitar. If it, along with the associated work, is not perfect the guitar will not play in tune with itself. Your fingerboard is made from Indian rosewood or Sonokeling (plantation grown rosewood) and has been slotted, but requires some handwork to complete.
  • Page 28 4) Put several drops of cyanoacrylate glue into the hole and press the inlay into it firmly. Hold for about 60 seconds. DO NOT get glue in the fret slots!!!! Note: Blow out the fret slots and place tape over the surrounding fret slots to eliminate any glue flowing into them.
  • Page 29 Main Objective: Complete all fretting steps including installation and dressing, install machines, shape the neck and install the machines. Note: Before moving ahead, ensure that the fingerboard is completely flat by placing an accurate straight edge along the fingerboard. Step Twelve-Fretting the Fingerboard The fretting process is where each fret is carefully hammered into place.
  • Page 30 Step Thirteen-Dressing the Frets Using a straightedge, check the frets to ensure one fret is not higher than another and no “buzzing” will occur. 1) Using a “bastard mill file”, file the ends of the frets flush to the side of the fingerboard.
  • Page 31 Step Fifteen-Heel Cap There is a small plastic heel cap that needs to be glued with the neck on the body. Once glued, remove the neck and shape the heel and any further neck shaping for final comfort. Step Sixteen-Install Machines There are three left and three right machines.
  • Page 32 Main Objective: Ream the bridge pin holes and fit the saddle. Step Seventeen-Fitting & Adjusting the Saddle Fit the saddle into the bridge by taking a flat piece of wood to use as a handle and attach a piece of double stick tape and pick up the saddle with the tape.
  • Page 33 glue the nut using CA glue. If the grooves are below the pencil line, the nut will need to be shimmed with a small piece of veneer. Once the nut is glued, erase the pencil line and re-draw the line again to be sure it is exactly where it needs to be.
  • Page 34 Step Twenty-Setup Set up determines the guitar’s playability and reflects the individual builder or player’s preferences. If you are looking for a fingerboard that is easier to play, you’ll want lighter strings and a lower action. If you like your sound to project better, you might prefer a slightly higher action.
  • Page 35 Optimum distance from high E string to 12th fret = .12” Optimum distance from low E string to 12th fret = .14” Step Twenty-One-Trussrod Cover Once the setup is complete and any truss rod adjustment is made, position the truss rod cover by butting it up against the nut. Mark and pre-drill the holes and secure cover with three screws.
  • Page 36 Thanks again for purchasing a kit from US Guitar Kits, Inc. We would love to see a picture of your finished guitar. Visit our site at www.usguitarkits.com or send us an e-mail at info@usguitarkits.com. Safe building and happy playing!!!!! Copyright © 2010 by U.S. Guitar Kits, Inc. All rights reserved.
  • Page 37 U.S. Guitar Kits, Inc. Finishing Instructions for Acoustic Guitar Kit Time to Bring it Alive-The Finish!!! Be careful not to get to hasty. Instead, take your time and savor the rewards of a beautiful guitar with a fantastic finish. There are many finishing specific books and references available on the subject and would suggest reading up and experimenting on scraps before applying a final finish.
  • Page 38 Grain Filler Grain filler is used on open pore woods like mahogany to raise the low areas of the pores and help to level the final finish and not see waves. The color grain filler used can either be used to simply level the pores or used to highlight the pores with a contrasting color like black.
  • Page 39 We do stress preparation as the key to any finish. We also stress following a complete finishing process on some scrap materials to understand all the steps to achieve the final look you want. Copyright © 2010 by U.S. Guitar Kits, Inc. All rights reserved.