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    Make Your Own Electric Guitar & Bass PDF

    Загружено:

    Andrei Mosora

    Авторское право:

    © All Rights Reserved
    Скачайте в формате PDF или читайте онлайн в Scribd
    Отметить как неприемлемый контент
    из 95
    tate ue “& Das ) | Dennis Waring & .> David Raymond © Make Your Own Electric Guitar and Bass DT Eee eC MCT REMC eMC ETL a Thomas Randall g SC ma UT em Ce CL on ia) Introduetion 4 Guitars Through tne Ages 5 Constructing a Six-String Guitar 8 Tools and Materials 9 Explanalion of Tools 9 ‘igs, Templates, and the Router 12 Wood Lore and Selection 12 Design Considerations and Preparation 13 Body shape 13 Pats ofthe Guitar 14 Headsiock Design 15 Neck Considerations 17 Neck/Body Connection Options 19 Nech/Boay Angle 19 Btidge Types 20 Creating 2 Fullsize Pattern 22 ‘The Guitar bedy 24 Preparing Wood Stock 24 Moking the Pickup/Neck Pocket Master Template 25 Routing Process for Pickups and Neck Pocket 27 (Cutting and Shaping the Body 28 Routing the Flectionics Compartment 29 Brkige Placement 30 Neck Screw, Ferule Holes, and Truss Rod Nut Channel 32 Carving the Body Contours 32 Neck Pickup Wirlag Holes 33 Neck und Headstock 34 Wood Preparation 34 The Neck 35 The Headstock 37 The fingerboard 38 Proparation 39 Cutting Fret slots 40. Fingerboard Inlays 40 Gluing Fingerboard to Neck 47 Fingerboard arcing 42 Instaling Fieis 43 Finishing Frei 44 Hingerboard side Dots 45 Assemblage 45 Fling Neck to Body 45 Tuning Mechanisms 46 The Nut 46 Instaling Pickups 45 Blectrcnies Compartment Cover 47 Strings and Setup 48 Finishing 4a sanding 49 Staining 49 Sealing Woods 50 Grain Filler 50 Topeoats 50. Rubbing Out and Polishing 5 Finishing the Fingerboard 57 Wax 57 Constructing a Bass Guitar 52 ‘The Neck 53. ‘Truss Rod and Headstock 54 Fingerboard and Inlays 56 Installing Frets 57 The Body 57 Assembling the Body and Routing for Electronics 58 Pickup Cavities 50 Body Roundover and Body Contours 59 Fretting 59 Prefinishing 60 Preassembly 60 Setup 60 Appendix 67 Master Drawings for Guitar and Bass 61 Guitar Patterns 62 Bass Patterns 64 Playing the Blectilc Guitar and Gass 66 Hectronics 71 Wood and Tone 89 Finishing Options 92 ‘Too! Sharpening 93 Index 96 “The gular i probably the most popular musical irstumert in the ‘would. This temarkable device wit ts many vaniont forms: has erased {al geographical boundries and is now played i a enorrnous verety (fcitral contexts. From Aftican beats to heavy metal, Asan pop to East Indian cassia, ls ongoing adptabity ssc Init, In recent decades. the elecriication of the guitar, expecially in 8s solt-boxy fon end the dominance of Arnericalt popula cutute, have transformed musical sensiblties iobally, Often nearly unkrsites tonal variety, the electric guar has become one oe most romnent Instruments in jazz. pop, rock, and wenld music today, Altnough muck Has been writen about the eecte gultar an its constnuction there remains a tmitec amount of practical materat ‘ithin teach ofthe amateur woodworker. This book emphasizes Aaccessiily” a clear, methodical step-by-step process resulting in ‘atracive, functional instruments. By using coramcn woedvorking toni, easito-order materials and avalable resources (or finding ‘lectronic comparients end other naraware, his volume provides all the necessary information forthe aspirg inshumert maker anc these seeking a belle unkerstanding ofthe instumern. In addition to Instructions for bullding a standavd Gating soll ‘body model ya, ete are arectons for making an elecrc bass gular The guitar section contains detailed sessions of major procedures common to noth guitar and bass. Optiors ard references {or further devesopment and enhancement are found inthe Appendic ‘at this took Hectic guitars and basses are excelent vahices for creat in bot nui and paying, Every aspect at thelr design. from the shape to the electronics to the muatoral they are made fron, open to tnkerng, customizaticn, or aout revolution. Solle-body electric Instruments representa urigue arwalgarvation, combining t= oldest ‘elements of musical instument making knowleage, a “best selection {rom the history of electronic stunning visual design, arid a capacity to ‘ncorporateew ides. Throughout ther short history, these Instuments have benefiied fom the efforts of irmovators representing ‘many dverse backgrounds lecirca engineers, aerospave technicians. fine woodworkers, artists, and even those seeking cheaper means of 'ass-procuction Nave conus enormcusly tothe advancement of the elecc guitar and bas. The result @unigue opportunity for te Dulide's personal expression on many level. One season forthe constant aevancentent of eect: stnged Instrument design isthe accessiblty ofthe consiructon process. White technology has mave tore dificult or the average person to tune thei car or ichousehold appliances. not to mertion tule bette versions ofthese Rem electc gulers and basses OF the highest quay comin tobe bul by inddvetua in hame werkshops These Inotraenis use reatvely simple, adtional, ang efter oi fastioned technologies to generate unde that continuoniy challenge and excite both players and Isteners, People seckirg to enter tis Held today’ have access to teccarees that were undrezmed of a decade ag. A large Varley of tools, nardware, ekeronics, and wood is avalabe fom a ‘number of specaly suppers, art the Irtemat has trough’ a rovakiton Inyaccess to nvormaton, ideas, and experiences of rstumment makers 4 allover the wor. This unkque comination of new and a makes these Miramonts amieng the most rewarding pursuits of the eeative ‘echnkcnly netted inctvidua, “This book outlines the process of building an slece guitar and bass. The Nstruments are designe to Mustrate the fundamentals ot ‘ct gular and bass construction. Stop-bystep procedures procuce lnstraments that are straghttonvard out of high qualty While many of the steps require dauriraly precse operations. they are faxitaied by the use of jigs, patems, and templates that allow the patent. persistent haginrer to produce professional reculs. Our Instructions seve as an Invoxtuction to the kinds oF sop procedures and problem-solving sis used by mac inshumert makers ‘The two Insruments outined inthis book utlizew comtinattn trattional and moder design features. They are capable ofa vide range of musical styles wth versatle yet accessibe elections ard onsricion details hat have been Grosen to enfiance tone and Playaby. However, the possibile for designing your oan puter or bass ave almost endioss, and the reader shoul feel fre to explore as rigny options as possible to buld an instrument that fs personal ‘needs. Tis book Incudes advice on ayalable woods hardware flectrenis, and possibie design variations. Learn, how these faders come together to produce a unique Instrument i. fascinating process ‘ou can enrich your own instrument making experience tthe following ways 2. Read other books arid periodical about instrument miokhg. Got {your library, Send away for further Invocation. Searcy relevant wel sites and chat rooms on the tere. 2. Play as many diferent instruments as posabie to familie yours wih their designs end features, Sek out the knowlege ard pions of players selespeopie repaivers, and bulders whenever posable There |s a grea! deat of knowledge avalable and you wit fine tha people are happy to help when they hear that you are buliding your own Instrument 4. Reseach the availabilty of tutaing materials (wood ters slags, ec). Begin gathering materials eary. Collect relevant cotalogzes and send away for hard-tovnd items. Collecting materials may take some ‘ine and efort but you wi ascover some wood scurces and make vaable connection inthe process, 4, Gather toc as you requre them, Theres no need to buy a stot chiéels when you may use only cne or two of them Be selective when buying some oe speciaty gizmos since they may he use erly to the preduction builder. Whon feasible make of improvise your wn ‘001s. Jes, and templates, 5, Afar studying the Instuctions and thinklng through the opin ‘utd patently anc cansistenty.ene step at atime. 6. Expect to make some mistakes. They ae part ofthe creative process ‘and often kee to new and better methods, Coupling a stretched sting to volume of enclosed alr-the principle of ataching a sting io a resonator-urdoubledly dates ta prohisiory Over tine, musical Bows, yes, haps, zithers, and fue ofall shapes ane sizes formed a family ree of chonaphones. Members cf the hte ‘emily of Istiuments whicy includes suka’, feature a neck body ‘elationship: strings run from the body ofthe Instrument over a Drkdge, to the end ofthe neck. Makers ofthese eay gullartKe instruments utlized gourds. teos animal skins. plant fers, ad other afl resources, Mery ancient cvitzatiors recor lute mstrament ‘ypes. From these weilsprings conte the Greek boul, Turkish saz hinese pi pa Incian sitar, Russe balalaka, Havatan ukulele, Ain ngon, American banjo, and hundreds of ether variant forms. ‘Lore as tot the guitar, with ts familar hourglass, fleune-lzn ‘alse shape, wits Introduced to Spain by the Arabs. By the 14h Gentury faa difused tvoughout Europe, and by the 17th century had begun to displace the bow-shapod lute as the picked stringed ‘nurvent of mole, Cosey connected withthe cktern (a related striged instnsment popula’ fram 1500 to 1806), early guitar forms hex various numbers of stings, usualy four © sik, ote double. laor. puis ith sx shite strings came Into vogue, Since thi aniangementatforoes a drmpler playing technique than iis Iredecesirs the sbestiirg guitar bocame the standard Bul tat was ony the begining Because the guitar traveled easily it accompanied would exploration ftom Spain throughout the western hemisphere and Dejond. By the late 130 and eary 19th centuries, had achieved ts loss shape and string arrangement. ad was switty gaining in epiaityn Europo and elsewhere, classcal repertites wore ‘fereloped spectcally forthe insttument: With #ach relocation it Sorted fs evoluion of shope an functor’ a suk the expressive eecs of diferent cares In fate Tath-century ad early 2oth-century United Sates, the ur caught on as a popuiar instrument accessible hough mall tide sows such as Sears, Reebuck Co, and Montgomery Wari, Dish the American Victorian period the guar became an AMfordableallemative to a plano or reed organ for the parlor. AS ts ‘allay and populshity increased, it pecarne the instrament of ‘hole fos blues end other folk musics. By tne turn of the cenkuy, ‘loneeirg American instrument makers heyan to fee the wowing Dlsest in gaa and popuiar musk. Wh movators such as artn an Gibson ips scores of leser-known luthiers, the guitar soem ‘caine one ofthe most played of all situments. As the 201%, Century unfolded the introduction of steo! strings anc arer-4op and metal esopaior sys further expanded musical applications Found Info, jazz tues. and dance ruse of all kinds by he 19305 the count: hollow-bouy four: hind reached a high level of matunty, Soon mains sich as Bley Puckett. the Carter family, Amy Ages Bob AVIS. and fate, Hank Willams, Doc Watson, and Merle ‘Trai establisn the guitar as the quintessential Instrument for ‘ouriry mui From this point cn, companies such a Gibson, Rickenbacker Epiptone viveone. ang others experimented with amitying the Guitars Through the Ages Nollowsbody guitar so i could be heard! inthe larger and louder Lends ofthe 19203 ane 1830s, Oe ofthe fist players to adopt the early electc guitar was Charlle Chrslan, Al the time, the roe of the gultan large jazz bards Was to provide chordat accorapaniment as Part of the thythm section, whieh wae the only way Kt could be: heard ‘ver the tmimpets trombones, and saxophones. contrast Cristian | ted the increased velume of fis electric instrument t play flowing singge nate soios witha tone that caused! a sensation i had! the percussive atlace of a gitar bul the power of a how. Eectifcction had succeeved in making the gular louder, and such players as Chistian responded by creating new roles forthe instrument I ‘woul be tne last ume. By the post World War It era, the etre galar wes gaining acceptance veh jaz, blues, and country musiears. Meanwhile, several uitar makers and players continued to experiment with alternatives to large, holow body gultars to lew louter volumes wkthautfeodbacie that nowing sound ‘hat occas when an aripites sour vibrates a guitar then te-ampies the vibrations} the solution was to make the body more soi Companies aich as Rickenbacker Slingevtand, Vik Tone. ar individuals Paul Bigsby, Los Paul, and others, had ball ulters that were, In whole orn par, mage of sata pieces of wood Some wvere adapted! from Hawtin style guitars layed on the lap with aside) that had been both sold and electri er years, thers ‘were desl as Spanish guitars, ater then used fer ary guitar Played uptight rather than across he fap. wath so many innovaions ‘werking toward the same: end, the acta invention of the solid body ect wuitar fs tmpossiie fo atrnute to any one person. was however an ikea whose time nad come White the ongin ot ine sild body electic was the esut of the fos of many, the frm of the instrument as we know i today Is largely due to one man Leo Fender, In 1956, the Fender company, foleased tha Broadcaster 3 sold body Spanish-atyle guitar which, for | te fst time, incorporated many'of the features that have Become Industry standards. With a bolton maple neck,» body mae For a Sing slab of wood, highly adjustable bridge, and intechangeaie parts, the modera elecisc guitar had arrived Renamed te Telecaster th 1952. tremains n production to ths day, practically unchanged in 50 years and sill very popular. Fenders compeiiton di not think igh of his puta at dst. They falled to See that with ls simplfied look and bolttogether comsituction were the very feaiures that made ita powertul and functional mstrument whase sound ara! look would redetine popular 5 music. Wiiin a short time, Fender's success crew almost all ofthe major irsbument manutacturers ito the sold body electric gular ‘market The Gibson company sought Out Les Pati, whose ideas they had dismissed a few years eave. The result wos tv Gibson Les Paul guitar, the only sellé body model that today metites the Feriders in status as a dlaste 'Meanvste, Leo Fender was again plocing revolution, 1 1951, ne Iniroduced an entrely new concept, the eletic bas: guitar. The Precision bass, so-called because ts Hes allowed It to be played tune more easily than the fretless upright bass, changed everything. ‘mage possible a sound that we take tor grarted today, but at that time had never been heard before: loud bass. Designed much the the Broadcaster the Precision produced a deep, percussive sound that ‘brought the basstie forward in the mul, was much easier to play thu an upright, and could be picked up quickly by guitar players. Like the Broadcaster, inroduced standarels that remain today, I's Sti available mtorr that ts remarkably uncharged from the ‘original model ‘During the 1950s the eectiiceutar became increasingly popuéar Inbiues jazz, county, and the fatest sensation, reek and ro. Sole body electric guitars and increasingly sophisticated ampliication were [pricey sulted to thls new kind of popular muse. vas the electre ‘bass, however, that propelled rock and rol into a new dimension, ‘with is abit to brege the gap between daums ara gular wlth a /povierul, driving Sound Together the new instnuments meant that a small ensemble 0 musicians could fit a lage room with music as ever hotare ‘The 1950s saw the birt of many of the tnstuumerts that would shape mecern music 1o the present ay. Gratch inroduced sem hollow moses such asthe White Falcon, Country Genbeman, ard ‘Tennestean whose tones defined the roccabily sound. Rickenbacker began to produce solld andl Sertisotl electrics with unique sing ‘and Innovative constuction feshures. Danelectro manutacures the Stverione Insruments sold though te Sears, RoebUC catalog, Mat used newensive, non-traditional materials sueh as masonite ad pine to produce unique, earful tones, The pstck tue plckups found en Daneietros make an aity,ecay tone that AL nto a surprsingy bioad range of rus and several manufacturers rake popular recreations of these plkips today, 1 1954 Fender Intioducea te Stratocaster. Developed by Lea Fersfer and Fred Tavares it plonoered the use of a ighly egonomic boy, an innovative tremelo bridge and integrated pickguard ant tectonic. It would prove to he the most popula land the most Iintated) elect guitar of al time. Gibson graced the decade with a muenber of remarkable achievements under the leadership of company presttent Ted [MeCarty. Among those were the £5335, a thin, hollow elsere guitar ‘wth a sotd block insige extending fora neck to tapiece. This guitar combined! sold body susan with hollow body richness, making for an extremely versalle Instrument Inthe middle ofthe decade Gibson ‘employee Seth Lover invented the Humbucking pickup, solving the problem of noly stig col pickups and creating a powerful now tone in the process, Toward the end of the decade Glson brow) ‘ut its radical Fying V and Explorer utars Commercial flops at fist these future deslgrs went on to become classics ‘The 1960s were as revoluionary for electc pukars and asses ‘as they were for society, Gultarbased bans dominated popular ‘music, and overdriven tube arnplifes, urboves, reverberate, and ‘wahrwah pedals Created new son landscapes, Mukarack recor ‘umed the stidlo into a musical instant, and afordabletetovions and tensistor radios changed the way must: and musicians reached ‘heir auclonces. Inthe eariy par of the decade, guitar companies focused on producing everincreasty numbers Yo supply a growing demand, as ‘musicians found previously untmaginest ways to use vie nova Instruments pioneered in the previous decade. Hlectc gukars had become big business, and the efforts of the early pioneers rad blossomed beyong anyons’s wildest expectations. By the end athe (60s, however, the Industry locked very diferent I 1965 Loo Fender sold the Fender Company 10 C8, resulting in \what mary conskler a dark age in the company’ history, Quy

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