I recently assembled a Stratocaster-style Harley Benton electric guitar kit, which included a few tricky things I had never done (staining and finishing wood, using a jigsaw). I think it turned out pretty great, despite a couple hiccups along the way.
The electroni come assembled and fitted into the pickguard, but the body is unfinished and the headstock is quite blocky. The body I got had pretty rough routing marks in the cavities, so step one was sanding it as smooth as I could.
Stains, finishes, and sawdust can be pretty bad for your lungs, so I did the build outdoors with a dust mask to filter out wood particles. I also used safety glasses while sawing and drilling.
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I picked out some Minwax Espresso stain at Lowe’s to get a nice dark color on the body. I started out staining the back of the guitar to make sure it looked okay. To apply the stain, I first wiped on some pre-stain conditioner with a rag and then wiped on stain. As soon as I stained the back, I noticed that I had left a lot of scratches from sanding (visible in later pi), so I spent longer smoothing out the front once the back stain had dried. Here’s what the front looked like after staining:
A few scratches, but I was happy with the color overall. Next, I applied three coats of shellac with a paintbrush, waiting an hour between coats and sanding the two base coats with 220-grit. Here’s the guitar drying after one of the coats:
Once the final coat dried thoroughly, I buffed it with some fine 0000 steel wool, which gave it a nice satin finish:
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I think the shellac I got was quite old, since it ended up having a bit of a varnish-y smell. I’d probably try using a spray-on lacquer if I did this again.
I printed out a headstock template I liked (from a Gibson Firebird–a little narrower than the traditional Fender Stratocaster headstock). I bought a cheap jigsaw and (after reading the manual and watching several instructional videos about safe jigsaw use) started carving out the shape:
Because of the base of the jigsaw and the guitar neck, I couldn’t quite reach the line I wanted, which resulted in making several jagged cuts:
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If I had been thinking, I would have turned the neck over and done the cut on the reverse side… Oh well. Nothing a heavy dose of sanding couldn’t fix:
The bridge mounting holes were very unevenly drilled into the body, so I had to expand two of the holes with a drill:
Next, I installed the spring claw and attached the springs to the bridge (notice my horrendous sanding 😅 let’s call it part of the home-built aesthetic):
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The hooks on the springs were quite roughly cut and initially didn’t fit into the holes in the sustain block, so I had to file them down. Not a big issue.
Not my finest soldering work, but the claw sucked up a ton of heat, making it hard to get the solder to bind. I also screwed in the jack at this point, which plugged in easily to the electroni.
At this point, I was very excited to test it out. Unfortunately, I realized when trying to install the strings that one of the tuning machines was defective and didn’t turn at all. I popped over to my great local guitar store and they found a matching tuner!
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I swapped out the button so it matched the other 5 tuners. The replacement is actually considerably nicer, so tuning the low E is a much better experience than tuning the other strings (the stock tuners have a lot of play and uneven resistance when turning, but they’re certainly usable). The tuners are my first planned upgrade.
I’m so happy with the final result. After some additional fretwork and a good setup, it plays beautifully and I can’t get enough of the classic strat sound. I used it as the lead guitar in a three-part cover of Fleetwood Mac’s Rhiannon (the main solo starts at 3:17):
: I replaced the stock electroni (pickups, pots, switch, and jack) with a loaded pickguard from a Fender Player strat–a huge upgrade in quality and tone! I also added locking tuners and a custom waterslide decal. Here’s a more recent recording with the guitar:
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I’m a Computer Science PhD candidate at Cornell University advised by Jon Kleinberg and interested in a blend of algorithms, data science, and machine learning.Think you know your guitar? Try making one! Whether you’re hoping to become the next Stradivarius or simply craft a custom Stratocaster, building a guitar can teach you a lot about your instrument.
Most guitar makers will never get a phone call from Jack White demanding an aluminium ukulele in under a week. But Ian Schneller isn’t your typical luthier, as a maker of stringed instruments is properly called.
Armed with a master’s degree in sculpture, Schneller started creating flamboyant instruments for his art-rock indie band Shrimp Boat in Chicago in the mid-1980s. Now, decades later, he’s the go-to guy for discerning musicians like the frontman of The White Stripes, Dead Weather and The Raconteurs.
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“It was amazing. He just called up said he needed it in like four days for an appearance on the Conan O’Brien show, ” Schneller recalls. “In that case, you do what it takes to get it done.”
Though he never set out to become a luthier, Schneller feels his self-taught approach has given him a unique perspective that has served him well over the years.
“The criterion for string instruments is very strict. The physics of it. But there’s still a wide-open palette for creativity. That framework is what’s so appealing to me, ” he says.
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Initially, he relied on Don Teeter’s two-volume set The Acoustic Guitar and Hideo Kamimoto’s Complete Guitar Repair for the knowledge he lacked and learnt as he went along. Over the decades, Schneller’s made everything from exotic electrified lutes to custom amplifiers under his Specimen brand. He eventually decided to set up the Chicago School of Guitar Making amid growing interest from people eager to turn a hunk of wood into a fully functioning six string.
“My school was an inevitable thing. There were so many people asking if they could intern here. It was a no brainer. I get kids fresh out of high school who have never touched a screwdriver or hammer before, ” he explains. “A lot are ageing professionals. Lawyers and dentists returning to their rock ‘n’ roll roots. Middle-aged semi-pro musicians wanting to get closer to their instruments.”
Making guitars at the highest level like Schneller is an art. It’s not something you should expect to do on your next free afternoon. But tinkering around on your own or as part of a class can undoubtedly give you a better understanding of how a guitar really works – and that, in turn, can make you a better guitarist.
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Case in point: Did you know a flamenco guitar has a lighter top than a regular classical guitar for a more percussive sound? Or the importance of wood – whereas maple will give your electric a brighter tone (and added weight), mahogany will provide warmth.
Schneller also has some clear advice for prospective luthiers regarding the tone of modern guitars: “The biggest ruse is the adjustable truss rod, ” he says, explaining how the mass-produced guitar industry has sacrificed tone for expediency. “It’s like drinking your first glass of top-shelf wine – once musicians hear the sonic differences they’re blown away.”
Beyond the educational aspects, nobody is going to make you guitar like you’d make one yourself. At least that’s the line of thinking prodding Matt Beels to delve deeper into lutherie this year after learning the basics in years ago in Calgary, Canada.
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Beels certainly knows guitars. He has everything from an old nylon string model being refurbished for a child’s first lesson to a battle-hardened Gibson Flying V belonging to a heavy metal fan at his Guitar Wars repair shop, which is located in a quiet side street in Berlin, Germany.
“There’s always something I don’t like about stock guitars, ” he says, grabbing the Flying V and pointing out how he prefers the cut of the original 1958 model near the base of the neck compared to later models.
With the radio blaring and old Kiss posters from Japan on the wall, he quickly restrings an acoustic while discussing the virtues of reverse headstocks, which he considers easier to use.
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“See how my hand just reaches up there, ” he says touching the tuning pegs from below the neck. “It’s just more comfortable. Plus it looks absolutely bitchin’.”
For Beels, guitar building is all about making an ideal axe for himself – and his three kids. Showing off the body templates for a “Tinycaster” model he ordered from The Netherlands, he quickly details his plans to create a hybrid child/travel guitar.
“You’ve got to have a normal scale neck or the kids will grow out of it and you’ll never be able to play it, ” he explains. “But you’ve also got to get
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