This project started as yet another paulownia tele body, from the same client and in the same color, but the plan details diverging from there.
In a similar fashion to the Paisley signature guitars, the client wanted the paulownia planed down and spruce caps glued onto the top and bottom of the body.
Originally we had planned on coloring the body an opaque black color, but later in the process both had qualms about obscuring the grain of the wood behind a solid pigment.
So we seized the opportunity and went with a bright yellow analine dye, with the same Crystallac finish that I’ve been using on the last several builds.
The Process:
After removing 1/4" off of the top, then the same amount off of the back of the body, I planed down some pieces of spruce to 1/4", then glued up 2 sets of 3-piece sets.
I am not sure exactly what species this spruce is, since we sourced it locally from the benevolence of a local tree cutting service.
All that we really know is that the tree died of natural causes, and that it sounds amazing as a tonewood.
When gluing top caps, it’s usually required to pin them into place on the body, since they usually want to creep certain unwanted directions, once there is fresh glue under it, and under pressure from the gobars in the deck.
For this one, I opted to use screws instead of pins, and one screw was placed through a mounting hole of the bridge, and the other one had to be placed far away from the first pin, to discourage any cap movement.
Because there was nowhere to place a pin that wouldn’t later be exposed on the finished product, I had to fabricate a support block that is held into place by attaching into the neck pocket (through the neck mounting holes) on the botttom, then a single screw to secure the top.
This top hole isn’t an issue since it will be cut off when routing out the neck pocket.
This block provided a dual purpose, not just to secure the top cap from slipping, but also I was able to transfer the centerline from the body, which greatly aided in lining up the perfect placement of the cap.
Another matter of foresight here was the decision to drill out 5/8" holes directly in the center of all 3 cavities.
This will make it a lot easier to route these cavities after the cap is glued on.
As for the back cap, one pin (actually a screw) was drilled at the location of the G string ferrule hole, and the other location was the 2 upper neck-mounting screw holes, for the aforementioned furring block.
The only thing left to do before gluing is to tape off the cavities, leaving the tape on the perimeter of each cavity cutout to approximately 1/4", which is to minimize glue squeezeout.
Due to the way these cavities will be routed after the fact, the bearing will need to ride on the sides of the cavities, so any blobs of dried glue will need to be manually removed.
The tape will be removed after the glue is spread out, but before the actual clamping is done.
The same taping method is applied to the back, to protect the string ferrule holes.
The hole marked with purple marker denotes location of the securing pin.
The glue is spread as evenly as possible onto the back of the paulownia body, then the masking tape is removed.
I usually use Titebond 1 wood glue for this type of application, but because both caps were being glued simultaneously, and all of the pinning and removing tape – that must all happen before the body can be placed in the clamping deck – a longer glue setup time was needed.
So I opted for Titebond 3, which is usually not my first choice, but for this job it was appropriate.
With the back cap glued and pinned into place, the glue is applied to the top.
The glue is spread evenly, and tape is removed.
With both caps on, the race is on to get the body into the gobar deck as soon as possible.
Wax paper is applied on either side of the body, then an MDF template is placed on top, to spread evenly the pressure of the individual gobars.
Many more gobars are added, since a lot of downward pressure is needed to provide sufficient clamping pressure.
(The Tele body is in the gobar deck on the right.)
The following day, the body is removed from the clamps.
The discoloration on the top cap is from me spilling some glue, but it sanded off easily.
The pins/screws and furring block are removed, and the overhang on the caps is trimmed back to within 1/8"-1/4" of the edge of the body.
Now the caps are routed flush to the body.
The bearing located at the bottom of the router bit, rides along the inner paulownia core of the body, while the cutting heads trim the spruce flush.
After the body edges are trimmed, next up is the neck pocket.
I had to hold off on routing the area above the hole, since the bearing would go into the hole and make a divot in that area.
That area was instead trimmed flush with a sharp chisel.
And finally the pickup and control cavities.
Unfortunately the body edges have to be cleaned up manually, with sandpaper.
The body is then sanded out to 220-grit, and the outer edges are subtly rounded over.
Then the grain is raised by spraying the body with water, then left to dry and sanded again, lightly with 220-grit.
Applying the yellow analine dye.
The dye is on, and now a vinyl sealer is applied.
This was taken after 2 coats of Crystallac finish.
After about 15 coats of finish, The body was wet-sanded with 1000, then 2000, then 3000-grit sandpaper.
After that it was buffed out with a medium, then fine compound on the 10" buffing wheel.
The final result has a sheen like glass.
The next day I met with the client, to figure out the neck and hardware options.
Ultimately we decided on the (chrome-plated) brass 6-saddle bridge, an esquire pickguard, and semi-aged amber colored neck.
Despite this being a single-pickup guitar, I went ahead and shielded the neck pickup cavity anyway, just in case the client changes his mind at any point in the future.
Electronics are wired up, now it’s time to drill and mount the pickguard and control plate.
All done, and so far this is the best sounding paulownia body I’ve heard thus far!
The client was very happy with the result.
