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U.S. Guitar Kits Cutaway Assembly Instructions Manual

Acoustic cutaway guitar kit assembly instructions
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U.S. Guitar Kits, Inc.
Assembly Instructions for Acoustic Cutaway 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 © 2011 by U.S. Guitar Kits, Inc. All rights reserved.

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Summary of Contents for U.S. Guitar Kits Cutaway

  • 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 © 2011 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 Anatomy of the Top-Brace Structure 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. Note: Identifying the braces. See picture. Note: The bracing on the top consists of the Shoulder Brace, an X-Brace, 2 Tone Bars and 2 small Finger Braces as well as a Bridge Plate.
  • Page 6 Main Objective: You must first make a paper template and convert that to a plywood template that will be used in marking, dry fitting and final glue up of the top to the body. Step One – Making a paper template •...
  • Page 7 Step Four – Marking the Brace Locations on the Plywood Template • Locate the bracing and transfer the marks onto the plywood template. This will require that the top NOT move during any of the marking. Step Five – Stretching the Sides •...
  • Page 8 • Sight down the sides of the guitar to ensure the sides do not appear to be bowed inward. You should be dead on. If not, modify the length of the stretcher either longer or shorter to correct any bow in the sides.
  • Page 9 Step Eight - Marking the Brace Locations on the Body • Transfer the bracing marks on the plywood template to the sides. • Connect the marking lines of the braces for the pocket locations in the kerfing/lining. Step Nine – Trim the Top •...
  • Page 10 Main Objective: The next steps are focused on trimming, shaping and fitting the braces on the top. Step Eleven – Trimming the Brace Ends • Mark the ends of bracing that will touch the side kerfing 3/32” thick or simply lay a sharp pencil flat on the back and mark the ends of the bracing.
  • Page 11 Step 12 - Scalloping the ends of the Tone Braces • Place the top face down on a clean non slip surface. Cut the bracing off flush with the back of the top. Be careful not to make cuts/divets in the back of the top with the saw. You will need to chisel the small pieces off being careful NOT to pry and risk cracking the top or separating...
  • Page 12 Marking and Scalloping a Tone Brace...
  • Page 13 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 14 Tone Brace Lower X-Brace Brace Templates Cut out and lay on side of braces to mark Upper X-Brace Finger Brace...
  • Page 15 Main Objective: The final step in preparing to install the top is cutting the pockets in the lining and doing the final dry fit of the top. Step Thirteen - Preparing the Sides for the Top The sides have lining already attached around the inside perimeter of the body of the soundbox.
  • Page 16 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 on the inside, now is the time. Step Fourteen - Gluing the Top 1) Final dry fit the top to the sides making sure the top fits nicely.
  • Page 17 5) Clamp, through the soundhole using an f-style or c-clamp, the neck plate and the clamping caul. Be sure to site in the neck cavity for a flush fit between the top of the neck plate and the bottom side of the top.
  • Page 18 So far….so good! You have now completed all the steps to complete the top installation. 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.
  • Page 19 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 Fifteen - 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 20 See below for details to correct “Pitch Back or Pitch Forward”. If sanding is needed, a light touch and careful attention not to sand a twist into the neck. Continue to check progress by attaching the neck and placing a straight edge over the neck and check for “flat”...
  • Page 21 Pitch Back If your neck is pitched back and there is a large gap above the bridge and below the straightedge, the neck heel needs to be sanded more at the top of the neck and feathered in to the bottom of the neck heel (little if any off the neck heel).
  • Page 22 Note: You may also need to shift the fingerboard at the nut end to be sure the fingerboard sits flush with the side at the cutaway area and the centerline is pointing to center at the bridge area. Otherwise, the bridge location could end up being slightly off center which could be noticeable although not really changing the way it plays or sounds.
  • Page 23 8) With the marking complete, make a simple clamping caul by tracing the fingerboard onto a piece of ¾” plywood and cut it out. Using this during the glue up will help to evenly distribute clamping pressure. 9) Apply glue to the neck surface, avoiding the truss rod. Apply glue to the back of the fingerboard.
  • Page 24 neck so that you don’t tear your fingers up when you’re using the radius block. 2) With the neck off the body, use a 20” radius sanding block with 80 grit sandpaper to sand until a radius is formed the length of the fingerboard.
  • Page 25 Using accelerator will speed the process of the CA glue open time to a matter of seconds. Note: Accelerator uses a chemical process that creates intense heat and a nasty smell that can burn and irritate your nose, eyes and skin. Be sure to take all the precautions and read the instructions that are on the bottle of the product you use.
  • Page 26 Main Objective: Complete all fretting steps including installation and dressing as well as shaping the neck. Step Nineteen - Fretting the Fingerboard The fretting process is where each fret is carefully hammered into place. 1) Use a small triangular file in the fret slots to break the edge and create relief.
  • Page 27 3) Trim any fret excess with the end nippers flush to the fingerboard. Step Twenty - Dressing the Frets Be sure all frets are completely seated and flush to the fingerboard. 1) Using a “bastard mill file”, file the ends of the frets flush to the side of the fingerboard.
  • Page 28 Main Objective: Complete the process of cutting the binding and purfling channels in the body, final fitting of the binding on the back and gluing of both the binding and purfling materials. Step Twenty Two - Grooving the top & back and gluing the binding & purfling.
  • Page 29 Note: Cut the groove for the “purfling” on the TOP ONLY!!! 5) Install the 1” rabbeting bit in a small laminate router to match the width and depth of the purfling. Set the height just slightly shallower than the height of the purfling. Go all the way around the body and cut the groove.
  • Page 30 gaps between the body and binding, and then check again. Proceed around the guitar, and finish where you started, cutting a tight butt joint to hide the joint. (See Special Tip) 8) Allow the glue to dry overnight. Note: The gluing section must be completed in a single session.
  • Page 31 Main Objective: Marking the location for the bridge. Step Twenty Three - Marking the location of 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 32 Main Objective: At this point, the major construction is complete and there are two directions you can go to proceed. 1. Continue the construction including attaching the bridge, machines, fitting the saddle and doing the final setup to make the guitar playable.
  • Page 33 You are ready for finish! Main Objective: Remove the tape, attach the bridge, ream the bridge pin holes and fit the saddle. Step Twenty Four – Attaching the Bridge • The tape used to preserve the bare wood underneath is completely encased in finish. •...
  • Page 34 Note: Be sure to use 1/8” scraps between the thumb screws and the bridge to eliminate any damage to the bridge. DO NOT OVERTIGHTEN!!!!! Note: The pictures showing the bridge clamp glue up were taken in a typical class environment where the bridge is attached before the final finish.
  • Page 35 • Make sure there is a flat, clean surface for the nut to rest on and that there is solid contact on both the bottom of the nut as well as the end of the fingerboard. This will ensure good glue adhesion for the nut. •...
  • Page 36 Depending on how well the frets were originally seated and the care taken to ensure a flat, straight neck, the guitar may only require nut and saddle height adjustments to create the playability you desire. If lowering the strings to a desired height creates a high fret, try and first determine if it just needs to be hammered a bit more or it truly is a high fret.
  • Page 37 String tension can pull the neck up and therefore increased the spacing between the strings and the fingerboard and may be reduced by the use of the Truss rod to counteract the effect of the string tension. If the action is low, buzzing is more likely to occur. So a lower action requires more attention to Setup.
  • Page 38 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 the three black screws. Step Twenty Two-Strap Button and End Pin Drill the endpin with a ¼”...

  • Page 39: All Rights Reserved

    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 © 2011 by U.S. Guitar Kits, Inc. All rights reserved.
  • Page 40 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 41 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 42 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 © 2011 by U.S. Guitar Kits, Inc. All rights reserved.