The Real Binding...

This is pretty straight forward. Just need to be really careful you keep the router flat.
I started on the back - just in case there was something unforseen....

As you can see, the maple top got much more router 'burn' than the ash.

Attaching the binding requires quite a bit of focus. The glue dries fast - so you have to place the piece, hold it in place and at the same time tape it down firmly...

I also used a couple of clamps in spots to really make sure the binding was seating properly.

For tricky areas, you can hold the binding in place with your fingers. If you hold it super tight for 90 secs, once you release it will probably be firm enough to stay in place. The glue is amazing!

I trimmed the binding overhang with a sharp blade - I just carefully sliced it back - almost level with the wood. This also cleans up much of the glue that spills out too.

I will finally make the binding flush by sanding. All areas around the binding need to be sanded flush (including the sides of the guitar).

Double Bound Pearloid Joy!

Ok - I love a double bound tele.... especially when it's 'mother of toilet seat'....

I got 0.06" Pearloid Binding from www.allparts.com
I got the appropriate router bit from Stew Mac. It's a matter of using the standard bit, bit choosing the right size bearing for your binding.

I adjusted the router so that the binding would sit just proud of the body surfaces. I did a test cut on some scrap MDF.

Repair Results!

You'll remember my panicked moment when the router got away from me.... Luckily, most of the gore will be hidden by the control plate - and the bit that would have been exposed I managed to repair. You can't even see it. In a nutshell, I took a piece of maple (an offcut from the top), oriented it with the same grain direction and spliced it together with the damaged part.

And here it is - a glimpse of what it may look like....

Tangent.... Up The Front at Motorhead NYC....

It was 9-9-09, and Motorhead were in town here in NYC playing the Roseland Ballroom....
After sending an email out to a bunch of friends to gather a posse, I headed to Roseland all by my lonesome. No-one was interested.... weird, I think - it's not everyday that Motorhead come to town.
Anyway, they were supported by Nashville Pussy and Reverend Horton Heat - neither of whom I had seen live.

Nashville Pussy's lead guitarist is a chunky chick, dressed in black skinny jeans (aka painted on jeans) and she slings a black SG. The moment she put her leg up on the foldback and literally ripped the strings off her SG, I was sold.
Reverend Horton Heat kind of started off 'cold'... and I was a little disappointed with the reverend's sound - his gretsch didn't have that snarly 'KKRANNGGGG' that we all know and love. After a few tunes, however, they warmed up. By the end, I wanted more - a great, tight little 3 piece with many cool psychobilly numbers.... and a mini country set to boot....

So there I was, all by meself.... damned if I wasn't going to get me a good spot. So I went right up to the front. As the lights dimmed, the crowd became increasingly dense. If you hadn't moved forward by this time, forget it. Ten feet behind the front row, a group of tattooed dudes with no shirts were starting to get 'antsy'. Once the show started they were full on shoulder thumping each other - super aggressively but that was their game. This went on throughout the show, as did the flow of bourbon.

Don't get me wrong, where I was located wasn't sesame street. It was basically a fight between falling and subsequent inevitable trampling and ducking out of the way when some crowd surfer's foot came from nowhere.

The mosh pit was surprisingly soft (blokes from Long Island covered in a layer of tatts, which covered a layer of the good life), and despite Matt Sorum's best efforts to impart rhythm to the experience (he was on drums that night) the crowd was surprisingly rhythmically challenged.

Finally, this was the loudest gig I've been too. Don't get me wrong - I like it loud - I used to gig with 2 marshall quadboxes in small clubs - but this was alarming. My brain was trembling. And by the next morning, hearing still hadn't been restored to it's pre Motorhead state. It meant that you couldn't really hear anything at all. Coupled with the fact that most of Motorhead's songs are heavily distorted E chords in various guises and the sound was essentially mush.

But I loved it anyway.

Shaping the neck!

Most of the big stuff is now done - so now I can actually do most of this at home - rather than go to the workshop. This means I can do it in the evenings, or when I have a spare hour or two.
I used a spokeshave (which is like a vegetable peeler for luthiers). Make sure you get one with a straight cutting edge. They come with radiused edges and I was a little confused as to which I needed.

So I clamped the neck in a vise, and started shaving. You pull the spokeshave toward yourself as you cut. Continue around the back of the neck, slowly, removing a little material at a time. The birds eye figure in the wood did make the blade jump around somewhat - as long as there is no gouge that goes deeper than you want to go...
I also used a rasp to remove large amounts of material.

Using a contour gauge, I measured the profile from my Fender Custom Shop Jerry Donahue Telecaster neck.... I made a form for the 1st fret, 5th and 12th frets.

I basically kept shaping til the neck matched the profiles I made. I also did some sanding with 180 grit in between.

Pearl Inlays

I decided to go with real Mother of Pearl inlays. 6mm diameter.
Best thing is to mark the center line of the neck, then make a cross using diagonally opposite corners of the rectangle that surrounds the destination of the dot.

The holes are best drilled with a 'Brad Point' drill bit - 6 mm. Brad Point bits produce razor sharp holes with no tear out. They also have a point which helps mark out the exact location of the hole...

You drill deep enough so that the inlay sits just proud of the hole. Then you sand it flush.

I used a drop of medium viscosity clear superglue to seat the inlays. You could also use black glue if you have a dark colored fingerboard.

Final Thicknessing - Neck

I needed to do a little more sanding here - using the 12" sanding block again. This time I was measuring in multiple spots along the length of the neck. I 'evened up' the thickness along the length, and took it down to just under 1" thick.
Ready for inlays.....