We now carry a wider selection of bell hat and speed knobs in both vintage style(non recessed) and modern style(recessed) commonly used on Gibson, Epiphones and many other guitars.  In this blog I will point out the differences in these knobs to help you properly pick the correct knobs for your guitar. 

There is three basic styles of knobs we carry.  Left to right:  Bell Hat knob, Speed Knob, and the Reflector knob. 

The Bell and Speed knobs are available in amber, gold, and black with recessed and non-recessed centers(will explain later).  The reflectors are available in gold or black with either shiny silver reflectors or spun gold centers.  The reflectors are only available with recessed centers.

We stock most knobs to fit both coarse and fine spline controls.  The general rule(not always true) is that coarse spline are usually used on controls made outside the US while fine spline is used on US manufactured controls.   You should always count the spline on the control to verify you are ordering the correct knobs.  A fine spline control will have 20 splines(10 on each half of the split) and coarse spline controls will have 16 splines(8 per side).  Here is a picture of a fine and coarse control.

This is what a fine spline knob look at it from the bottom.

And a coarse spline knob.

When picking the correct knob for your guitar you will also need to consider whether you want a vintage style(non-recessed) or modern style(recessed) control.  What we call vintage style or non-recessed are knobs that have the center section, where the controls shaft fit into, flush with the outer edge of the knob(skirt).  A modern style or recessed will have the center section recessed when compared to the outer edge.  This picture will help you visualize the difference.  The knob on the left is a vintage with a non-recessed center and the right is a modern recessed knob.

 Here is a picture of a 2010 Gibson Les Paul.  The knob rear 3 knobs are a modern recessed knob and the one near the front is a vintage knob.  You can see how much higher a vintage knob sits on this guitar. 

 How high the knob sits above the surface of the guitar is also effected by how much of the control is sticking out above the guitar.  Its actually possible to have the control sitting so low that a recessed knob can rub on the guitar finish.  Usually pulling the knobs off and reinstalling it without pushing the knobs all the way down will fix this problem.  

 I would also like to show how the numbers look on some of the knobs we sell.  Most of the knobs will have numbers painted on from the bottom of the knob.   We also sell vintage knobs with painted embossed numbers.  There is one knob that is only available with unpainted embossed nunbers.  These are the amber recess bell hat knobs(WKA-160 AND WKA-160I).  In the description of the knobs you will find information on how the numbers are applied.

If there is any questions please contact us at support@philadelphialuthiertools.com .   To view the knobs we currently have available please check out our website at www.philadelphialuthiertools.com .

To make the channel for the binding I used a rabbet router bit set to form the channel for the binding.  Find the correct  router bit and bearing combination to get the correct depth for the binding.  You don't want the binding to fit completely flush.  Try and make the binding alittle proud to allow you to sand the binding flush.  The binding for this guitar will be a consistant 1/4" tall and .06" thick.  I installed the router in my overhead jig I made early(see earlier blog post) and set the height to cut the tallest section first.  This the area in the Les Paul's cutaway section:


 
The rest of the binding channel is at a consistant height all the way around the body so I reset the router to cut just below the maple/mahogany seam.  This should be about 1/4" below the maples top surface.


 
Once the binding channel is complete I will need to connect the section in the cutaway.  I will use a combination of razor blade and chisel to complete this section.   A lot of builders would make a floating router stand with a puck like device to rest against the body to make the binding channel.  The puck will rest on top of the body edge and make a binding channel that is same size all the way around the guitar.  I couldn't justify the extra time to make or purchase this device for just one guitar. 

This is were I think I jumped ahead a little.  I attached the neck mortise template to the guitar body on the neck plane(the 4.4 degree slope).  The neck plane is a very small area and I had to be carefull.  I used some double side tape and nails on either side of the mortise.  I also used some wedges and a clamp at the tail end to help steady the template.   I hogged out the majority of the material with a forstner bit.


 
Then proceded to remove the remainder of the material with a pattern bit.


 
Another picture with the template removed.  You can also see the completed binding channel in the cutaway.


 
Ok now back to the binding channel.  The binding was glued in using a acetone and binding material mixture.   Cut up small piece of the extra binding and some acetone.  Mix it until you get it to the consistance of thick paint.  Starting on one end, brush on the acetone mixture on a section at a time.  Put the binding in the channel and hold in place tightly with good tape.   Once complete let the guitar sit overnight  before removing the tape.   The next day you will have a little cleanup to do on the binding.  



I like using a good cabinet scraper to cleanup the binding.   Sandpaper on a block of wood for the outside curves and sandpaper on a pvc pipe work great on the inside curves.   A cabinet scraper works best for the top.  Becareful not to dig the edge of the scraper into the maple top.

The pickup up cavities are next and then onto the neck!

We just added 3 new truss rod cover to our custom engraved TRC inventory.  

We have two Ibanez truss rod covers are exactly the same shape but have different bottom mounting hole locations.  The DM-911-IBZ1 is for guitars without the Access truss rod cover;  THe DM-912-IBZ2 is the one with the Access truss rod cover.  The Access truss rod covers have the little door that opens and allows for easy access for truss rod adjustments.  Of course with the custom engraved truss rod cover you will loose this ability...I don't think that a big deal for a awesome TRC!    If you are ordering either one of these please check the measurement closely to insure you get the correct truss rod cover.

Ibanez Non-Access Truss Rod Cover - DM-911-IBZ1

 

Ibanez Access Truss Rod Cover - DM-912-IBZ2
 

We also added a Guild custom engraved truss rod cover.   They remind me of an upside down Gibson TRC.   These have special rounded edge and are only 1mm thick on black TRC material.  A very easy way to add a little customization to your favorite guitar.

Guild truss rod cover DM-913-GUILD


Visit our website at www.philadelphialuthiertools.com and see all the availabe custom engraved truss rod covers we have to offer.  Tell a friend!

Just returned from this years NAMM show so now it time to get back on track with this build.

Instead of finishing the guitar neck the week we are going to start on the body again. We need to complete the top carve, neck/pickup plane, binding channel, pickup routes, and neck pocket. Its easier to make the neck fit the body than make the body fit the neck.

To make the carved top, I routed steps using template that I found on www.mylespaul.com in the Luthier Corner forum.

 
Once all the steps are routed you use an orbital sander to sand the steps smooth.  I also built a overhead router jig to hold the router level during the process of routing the steps.  I will also use this jig to route the binding channel.  Here is a few picture of the overhead router jig, router bit,  and the body after the steps are done.

Overhead Router Jig.  Just a thick piece of cast acrylic that is machined to match the router base and clamped about 3" above the table.

 
A short pattern/flush trim bit.


 
Attach the first template.  Make sure to line up the center line and use two screws through the pickup pockets to secure the template.  The first route is going to be the deepest.  After each additional template, adjust the router about 1/16" higher.



The routed steps done...miscalculated some of the steps but all will be fine. The steps are only a rough guide to how the carve should look.


Next I need to cut the neck and pickup planes.  The neck plane will be 4.4 degrees and the pickup plane is 1.2 degrees.  The neck plane basically set how far the neck is tilted back and the bridge height.  Incorrectly done you can have a bridge that is very high or a bridge that can't low enough to  get good string action.

Made a hinged router box and used double side tape hold the guitar body inside.  Using a digital level first level the box puting the level on the flat area on the guitar.   Next set the angle of the hinged sides of the box to 4.4 degrees.  Make sure both sides of the box read 4.4 degrees.  You don't want the neck plane to be sloped to one side.  Mark where the fingerboard will end.  This will be where you need to stop the neck plane.  Check your plans to get the starting height and route to the mark you measured earlier(where the fingerboard ends). 


 
Now reset you hinged router box to 1.2 degrees.  Mark the location of the bridge...this will be how far you will extend the pickup plane.  You will start where the neck plane ends and go to the location of the bridge.   When your done it should be a smooth transition.



 
Using a orbital sander start sanding the steps smooth.  Try not to stay in one area too long but keep the sander constantly going around the parameter.  This is probably the best way to keep from getting dips from sanding one spot too long. 

A few areas you will also need to stay away from is the outer edge where the binding will go and the neck plane.  The outer edge is currently level.  You don't want your binding to vary in height.  You also need the neck plane to stay flat so the fingerboard can rest on it without any gaps.



 
The top looks pretty nice here.  I kept feeling the top to try to make sure everything is smooth.  I also added a little recurve to outer edge.  When I felt everything was good I sprayed the whole top lightly black.  Why?   This will help me locate any imperfections in the top.  You don't usually notice any imperfection until you start sanding the black paint back off.  The low spots will hold the black paint while the high spots will get lighter.  Sand them to even them out.  You can see them in this picture.


Here is a picture with the sanding all done.   Came out pretty nice.  I'm happy.


Next time we will do the binding channel, neck and pickup pockets.

We are happy to annouce that we have 4 new styles of truss rod covers that are available custom engraved.  There is 2 Epiphone styles, 1 Schecter, and 1 Gibson Historic with the special beveled edge. 

Please remember there is no such thing as a standard Epiphone truss rod cover.  There is a few Epiphone truss rod cover that look similar but vary slightly in size and mounting hole locations.  They are not interchangeable!  Check the measurement, available in the description, against your original truss rod cover before ordering.  There is no cross reference that we have available to us.

The Gibson Historic truss rod cover are different then our standard custom engraved truss rod covers.  First they have the special beveled edge that sets it apart from the standard truss rod covers.  The engraving on these truss rod cover is not color filled like our other truss rod covers.  We choose to use single line engraving to match the type of engraving used in the early Gibsons.   Because of this engraving process we are limited to the number the fonts that can be engraved.  Please check the description for what it available.

Please visit our website at Philadelphia Luthier Tools & Supplies for all the custom engraved truss rod covers we have available.  If you have any questions please email us at support@philadelphialuthiertools.com
 

Sorry for the long delay in posting the next installment of this guitar build.   We had a very busy holiday season here at Philadelphia Luthier Tools & Supplies.  Now that everything is calming down, a little, we can continue on the the Les Paul build.

After test fitting the inlay we can superglue the inlay into place.  I like to use FastCap brand SuperGlue.  Fastcap has superglue available in thin, medium, thick, and Jel formulas.   For these inlays we will use the thick formulla as this will help fill the unevenness in the inlay cavities.  Since the inlay cavity we routed are also radiused with the fingerboard we are going to need use spring clamps to hold the inlay down into the slots as the superglue sets.  We will use one on each end of the inlays.  After about 1 minute you can remove the clamps and the inlays will now hold the radiused shape.

  
After the inlays are all glued in you will want to sand the inlays flush with the fingerboard using a 12" radius block with sandpaper attached.  I taped the fingerboad down to a flat surface using double sided tape and taped a straight edge parallel to the center line of the fingerboard.  You will use the straight edge to keep the radius block running down the center of the fingerboard.  Use light and even pressure to sand the inlays flush being careful not the change the shape of your fingerboard.  These celluloid inlays will sand very easy.

Leave the fingerboard and straight edge attached to the flat surface for the next step.   We are going to fill the uneven gaps between the inlay and the fingerboard.  You can see in the next picture some of the gaps. While most were nice and tight some are very unsightly.  Look at the second inlay from the left.


Clean the fret slots and any gap between the inlays and the fingerboard with compressed air.  Tape the frets slots to prevent the gap filler,from the next step, from clogging the slots as seen in the above picture.

To make the gap filler we are going to use some fine rosewood sanding dust and Testors plastic model cement(in the orange tube).  You can use a scrape piece of the rosewood fingerboard and sandpaper to make the fine rosewood sanding dust.  Make more than you think you will need.  Mix a small amount of the plastic glue and the sanding dust to make the gap filler.  I used my fingertip to press the filler into all the gaps and leave it a little high.  The filler with sink and get lighter as it dries.


 
The picture above shows the 2nd or 3rd filling of the gap.  After the gap filler dries(about 12 hours) you will want to use the radius block to lightly sand the filler flush.  You will usually need to fill the gaps 3 times to completely fill the gaps because of shrinkage. 

Sorry i don't have any pictures of the fret installation.  Seemed to have misplaced the set of pictures or accidently deleted them.   Tips on fret installations:

1.  Clean fret slots...make sure their isn't anything that will hinder the frets tangs from properly seating.   

2.  Use a file to slightly bevel both side of the fret slot.  This will also help the fret to set close to the fingerboard surface.

3.  Pre-raduis your fretwire.  Fret wire that matches the fingerboard radius are less likely to pop out of the slots. 

4.  If you have a fret that is not staying in the slot...use thin superglue at the fret edge.  It will have a capulary action and suck the superglue into the slot.  Use a spring clamp to hold the fret down until the superglue sets.

5.  If hammering the fret in go with light taps across the surface starting at the middle.  Hammering to hard will dent the fingerboard at the slot.  Will require a lot of fret leveling later to fix.

This fingerboard is going to have nibs(binding over the fret ends) like most Gibson Les Pauls have on their fingerboards.  Clip the end of the fretwire flush to the edge of the fingerboard.  Run a flat file along the edge to clean up the end of the fret.


 
Next we are going to install the fingerboard binding.  Use double side tape and attach the fingerboard to a piece of MDF that is larger than the fingerboard.  This will help us align the bottom edge of the binding.  To attach the binding I used a thick superglue formula.  Precut the binding for the 3 sides(2 sides and bottom).   Attach to small piece of binding to the bottom edge of the fingerboard(where the 23rd fret would be).  Make sure to hold it flush with the bottom surface.  After the superglue dries(30 sec), trim and sand the installed binding flush on the side of the fretboard and the top to match the radius.  Next install the two side binding with the thick superglue.  Trim and sand the binding end.  Use end nips to trim the binding above the fingerboard and frets to within a 1/16".



 
There is two ways to trim the binding and shape the nibs.    You can shave it with a cabinet scraper and file or use a flush trim bit installed on a router table.  Using a cabinet scraper and file can take hours.  With a flush trim bit it can be down in minutes.  The trick to make sure only the bearing rides on the fret board.  Adjust the router so cutter only hits the binding.


 
Finish up the binding detail with a feather edge and flat file.  No need to do a perfect job yet.  You will have time to finish the detail when dressing and leveling the frets.


Next we will start on the top carve....

For the fingerboard, we used a pre-slotted, pre-radiused fretboard.  This makes the job a lot easier and save plenty of time.  This fingerboard came ready for 24 frets so we will need to remove the extra fingerboard lenth for this guitar.  Cut the fretboard at the 23rd slot and sand to the final length.  Make sure you account for your binding thickness.


 
We are next going to taper the fingerboard.  Sorry I forgot to take picture of these steps.  Will try my best to explain the procedure.  First I marked the center of the fingerboard and then proceded to mark the 43mm width at the nut and 58mm width at the body end.  Make sure you again account for the binding thickness.  On a table saw, we cut a scrape board(used a piece of mdf) to about 12" wide.  After cutting the board do no move the table saw fence.  Using double side tape, tape the fingerboard  to the scrape board lining up the 43mm and 58mm marks.  After running the fingerboard through the table saw you will have one side of the fingerboard tapered.  Repeat this process on the other side.



For the next step I like to use painters tape protect the wood and mark where the inlay marks will go.  After taping the position of the inlays you should double check inlay position against a guitar.  Many guitar builders have accidently put inlays on the incorrect fret position.  



Lay each inlay into position and trace the inlay with a x-acto knife.



Remove the inlays and go over the trace with the knife again to deepen mark.  This will help the fingerboard from chipping when your routing the inlay pockets.



To route the inlay pocket I used a dremel with a router base and small endmil.  This dremel router isn't the best and requires a lot work to keep centered.  Would recommend an upgraded dremel router base.  The fingerboard was installed on a piece of MDF and clamped into place with acrylic plastic strips.  The acrylic strips also acted as a straight edge for the router base to run against.  With some patients everything came out ok


Here is a close-up picture of the fingerboard with the inlays installed.  Any gaps will be filled will be filled with Testors plastic cement and fine rosewood sanding dust. 


 
We will contiune working on the fingerboard in the next blog entry which will include glueing in the inlays, fretting and binding the fingerboard.

We offer this new easy and fast fret polishing tools.  These don't have the problem of steel wool.  Erase the small scratches or polish the dirty frets.  Because of their softness, the rubber fits to the fret arch perfectly and won't deform the fret.  Also the soft rubber keeps the fingerboard damage to a minumum(still need tape protection if the eraser will rub the fingerboard).  The are easy  to cut with a knife for easy shaping or hard to reach areas.  Come in three different grits  180/400 grit set(1 of each size) or a 1000grit set(2 pieces)

We didn't use a bookmatched maple set for the top. I found two boards that look very similar and glued them together with Titebond wood glue.  After joining we planed the top to a 5/8" thickness.  Trace the body outline from the template to the maple board.  You will be using the center seam as your center line throughout this build so make sure it accurate.  Roughcut to maple using a bandsaw and leaving about 1/8" at the outer edge.  You will be trimming the extra with a router once the top is glued to the mahogany body.


 
Trace the pickup routes onto the maple top using one fo the templates.  Drill two pilot holes in the pickup pocket to help you when gluing the maple top to the body.  Carefully clamp the top to the body to dry fit without glue.  Once everything is lined up, screw two drywall screws into predrilled holes. 


 
Remove the screws and separate the two pieces.  Tape the edge of the mahogany body to protect it from glue squeeze out.  I used hide glue but you can also use titebond go join the two pieces.   When working with hide glue you need to work quickly.  Make sure you plan out the steps ahead of time and have everything within easy reach.  Spread on the glue to the top and body and leave about 1/4" of space around the wire channel and controls cavities.  Spread a nice even coat that not to thick.  Join the two pieces and line up the center lines.  Screw the two drywall screws.  These will help things from shifting during assembly.  Start clamping and make sure to keep checking the center line.  I end up using most of the clamps I own.  Don't forget to get clamps into the center also.


 
After the glue has dried overnight you can remove the clamps.  Flush trim the top to body body with a router.  Finish the sides by using an oscillating spindle sander for the inside curves and a block sand for the outer curve.  Spend a lot of time to insure a smooth surface.  Use your hand and a good light source.


  
Next I drill small pilot holes for the volume/tone controls, and toggle switch.  One thing I missed is I should have also drilled pilot holes for the tailpiece.  Doing this now while the surface is flat is a lot easier than when you already have the carved top.


 
Our next update we will take a break from the body and work on the fingerboard.

We will start by mounting the control cavity template to the back of the guitar using double side tape.  Make sure and using the center lines drawn earlier to help with alignment of the template.  We will use a forstner bit to remove most of the material before using the router to finish the job.  To make a vintage looking bottom do not go all the way through.  Leave a little more than 1/4" of material at the bottom of the cavity.  You will use the router to get the final depth of the bottom.  If go to deep with the forstner bit, the bottom will be littered with the center marks from the bit.


 
After removing majority of the material with the forstner bit you will use the router with a top bearing pattern bit.   Do not try and remove all the material in one pass.  Go down about 1/4"-1/2" at a time and go slow.  Leave about 1/16" at the bottom of the control cavity and 1/8" at the bottom of the switch cavity for the vintage look.  

Attach the control cavity cover template using double side tape.  Using a top bearing pattern bit route the control cavity recesses.  Check your control cavity thickness and go to a depth of the cover plus about 1/32" to account for the paint thickness.  You don't want your control cavity to sit above the finish.  Test fit the covers.


 
Mount the wire channel template to the front of the guitar using screw in the pickup cavity area.   Route the wire channel to a 1/2" depth.


 
Here are two pictures of the back were you can see the wire channel entering the control cavity.

 
 

Put a 3/16" radius bit with the bottom bearing on the router.  Route the roundover on the back edge all the way around the guitar.
 


At this point I would want to weight the guitar body.  A good weight for a blank at this stage of the build is under 5 lbs.  This one came in at 4 lbs 13 oz.  Perfect.  If it weighted more that 5 lbs I would consider either drilling large holes(swiss cheesing) or chambering the body.  There is many picture online on how Gibson did this to the Les Paul to keep the weight down on the guitars.

Next we will start on the maple top.