This section of the build sees the initial development of the back, neck and fret board. In keeping with the ‘salvage’ theme that seems to be growing as the build progresses, I have managed to find some more excellent pieces that have been sitting waiting for this guitar.

Just a couple of miles from where I live is a wonderful semi-retired luthier (Fred Laugharne) who had some well aged and seasoned timbers that had been in storage since the early 90’s. Fred had some Honduras Mahogany pieces perfect for the back and neck and also some wonderful Ebony banks for the fret board. The beauty of this ebony is that it is from the time when ebony was still uniformly black.

In addition to the timber from Fred, I found a Wenge turning blank 50mm x 50mm x 200mm hidden away in my garage that I had forgotten I had. It has been there for at least 20 years so that had to be used somewhere on this guitar. I sliced it into several thin sections and used this to face off the head-stock and to make the bridge.

Progress: –


The two pieces of the back have been joined and smooth sanded to the desired thickness and cut to shape. I have also inlaid a decorative Satinwood binding down the centre.


So far I have shaped the head-stock and roughly cut the neck to shape. The strip of Oak running through the centre of the head-stock and into the neck is to offer strength to the scarf joint at the head and also to give a little decoration to the rear of the guitar.

The oak towards the heel will also serve for strength and decoration when the rest of the heel and body joint is built up.

The Copper logo inlaid in the Wenge head veneer is shaped from a single strand of copper wire from 30amp cooker cable. Each wire strand is approximately 1.2mm thick so the lettering groove was cut out to a depth of 0.6mm and the wire strand glued into position. Once firmly set, the protruding face of the wire was sanded flat to the face of the head veneer. This gives the effect of the Copper inlay being cut from a flat piece of Copper and is quite effective when it catches the light.

The fret board has been slotted for a 640mm scale length (approximately 25.2 inches) and has been radius shaped to 250mm (10 inch) at the nut through 291mm (11 ¾ inch) at the 12th fret (and so on). The current plan is to use a ‘zero fret’ instead of a traditional nut but that may change in the near future.


The bridge is shaped from the Wenge to match the head veneer and will be complemented by an aluminium tail piece as the next part of the build.

Next Part 4

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