First Build - AES-1 AHAHAHAHA

First coat of the yellow...

https://i.imgur.com/JBy3hB8.jpg

Hi,

Crimson Guitars do some good staining videos and I found their stains excellent.
I started out with a nice black/red/amber burst that eventually turned into a brown mess.
See my build log for further details.
It is actually rather nice but I wanted a guitar with a burst...grrr.
I used their finishing oil which was good but the turning point for me was a can of Halfords PU Lacquer
I had knocking about. It turned a mediocre guitar into one I would have bought in a shop.
Best of luck, the boys here (especially Simon as he is UK based) are very knowledgeable and friendly.
Cheers, FB.

Thanks Fatboy.

Here’s the final burst...I’m pretty happy and I know there’s imperfections but I can live with them!

https://i.imgur.com/vXl3LR6.jpg

A quick question...

I’m going to use the Crimson Guitars finishing oil which looks pretty straight forward to use...but...do I need to tape up the binding again or does the oil just go over it to give it a smooth finish?

Or will it just wipe off?

I'd go over the binding with it. You would with a normal clear spray topcoat. It may tint it slightly more yellow - but I think it's a better look than the blinding white of scraped uncovered binding.

Thanks Simon! That’s what I was thinking!!

So next question!! I’ve let the wood settle down now and there is still a gap when the neck is in the neck pocket...any suggestions??

https://i.imgur.com/s72xZoj.jpg

I got the electrics out this morning to have a look and god I’m confused!!!

I’ve downloaded the wiring diagram for a two humbucker, three way selector but it makes no sense to me!

Here is what I’m looking at...

https://i.imgur.com/ynRe0NK.jpg

On a different note, I’ve started oiling the body with Crimson Guitars penetrating finishing oil and am chuffed with how it is coming out! I will post some pics over the weekend of the body!

Whilst I'd still be tempted to leave it a little longer before doing anything to the neck joint, you can obviously start to have a look and see if there's anything in particular stopping the neck fitting in fully. I'd rub some chalk on the pocket join area, push the neck in and the high spots should leave a mark on the sides of the heel. You can sand those down, repeat, sand repeat until it all fits nicely.

Not a great pre-wired harness you've got there. I'd be tempted to start again as the wiring lengths between the volume and tone pots are rather excessive and the wires will tend to flap about inside a bit. The pots with the green capacitors attached are the tone pots, the other two are the volume. The long bits of wire attached to the volume puts are the pot outputs which run off to the selector switch.

The red wire attached to the back of one of the tone pots is the ground wire for the bridge.

It's made slightly more confusing due to the factory wiring the pots in shielded cable, rather than the singles cores the wiring diagrams normally use. In some instances, you want to use the braid as a ground link, and sometimes it only needs to be connected to ground at one end.

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Originally Posted by Simon Barden

Whilst I'd still be tempted to leave it a little longer before doing anything to the neck joint, you can obviously start to have a look and see if there's anything in particular stopping the neck fitting in fully. I'd rub some chalk on the pocket join area, push the neck in and the high spots should leave a mark on the sides of the heel. You can sand those down, repeat, sand repeat until it all fits nicely.

Not a great pre-wired harness you've got there. I'd be tempted to start again as the wiring lengths between the volume and tone pots are rather excessive and the wires will tend to flap about inside a bit. The pots with the green capacitors attached are the tone pots, the other two are the volume. The long bits of wire attached to the volume puts are the pot outputs which run off to the selector switch.

The red wire attached to the back of one of the tone pots is the ground wire for the bridge.

It's made slightly more confusing due to the factory wiring the pots in shielded cable, rather than the singles cores the wiring diagrams normally use. In some instances, you want to use the braid as a ground link, and sometimes it only needs to be connected to ground at one end.

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Thanks Simon. So along these lines...

https://i.imgur.com/tI29MZn.jpg

Where the red, grey and black wires join theres another one which is covered in solder...what’s that for? And the the long red one that goes no where...whats that for?

The clump of three wires is where the selector switch goes. The red wire here will be the main output wire, going to the output jack. The selector switch has one end with connections for the input and output signals, and the other end for a ground connection. At the signal end, the output wire is soldered to the middle two terminals (normally bent together so they meet), and the two outer terminals are for the signals from the volume pots. The soldered-together braided wires from those three cables is attached to the other end of the selector switch (a single thick lug). Obviously the braid doesn't want to touch any of the signal connections, so some electrical insulating tape round the braid will come in handy (ideally some heat shrink, but tape is better than nothing).

Some tape round the wires going to the selector switch will help keep them together and going where you want them to go.

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Originally Posted by Simon Barden

The clump of three wires is where the selector switch goes. The red wire here will be the main output wire, going to the output jack. The selector switch has one end with connections for the input and output signals, and the other end for a ground connection. At the signal end, the output wire is soldered to the middle two terminals (normally bent together so they meet), and the two outer terminals are for the signals from the volume pots. The soldered-together braided wires from those three cables is attached to the other end of the selector switch (a single thick lug). Obviously the braid doesn't want to touch any of the signal connections, so some electrical insulating tape round the braid will come in handy (ideally some heat shrink, but tape is better than nothing).

Some tape round the wires going to the selector switch will help keep them together and going where you want them to go.

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Amazing thanks Simon that almost makes sense!

How do I know which way round the volumes go on the p/u selector?

Thanks again for all your help!

The best way is to work it out for yourself using a multimeter on the ohms setting. If you haven't got a multimeter, I strongly suggest getting one. You don't need to spend much and they are always useful when working on guitars.

With that type of selector switch, you'd solder the pickup output to the tab on the side you want the switch to select that pickup. so if you want the standard arrangement of down for bridge and up for neck, then the bridge pickup is soldered to the lower outer tab and the neck to the upper outer tab.

That type of switch works by actually being two 'normally closed' switches joined together. In the centre position, both contacts are made. In the 'down' position, the lever pushes away the upper metal contact spring from the centre contact block, so that only the lower metal contact spring makes contact. In the 'up' position, the reverse happens.

The enclosed 'box' type of switch (the type normally supplied on PBG kits) works in a different way, and with the switch in the 'down' position, contact is made between the upper terminal and the centre terminal (and vice-versa).

Simon is all over this one with great advice!

I second getting yourself a DMM (Digital MultiMeter).
Not only are they invaluable for troubleshooting, but are a great way to learn about signal flow in guitar circuits.
It helps to kind of "visualise" where the signal goes from one component to the next.

I prefer DMM's that have an audible beep for continuity testing rather than having to watch the screen to zero out.
Like SB said, they're not very expensive and you'll be surprised how much you use one for other things once you get one. (like checking battery voltage)

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Originally Posted by McCreed

Simon is all over this one with great advice!

I second getting yourself a DMM (Digital MultiMeter).
Not only are they invaluable for troubleshooting, but are a great way to learn about signal flow in guitar circuits.
It helps to kind of "visualise" where the signal goes from one component to the next.

I prefer DMM's that have an audible beep for continuity testing rather than having to watch the screen to zero out.
Like SB said, they're not very expensive and you'll be surprised how much you use one for other things once you get one. (like checking battery voltage)

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Thanks chaps will get looking now!

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Originally Posted by Simon Barden

The best way is to work it out for yourself using a multimeter on the ohms setting. If you haven't got a multimeter, I strongly suggest getting one. You don't need to spend much and they are always useful when working on guitars.

With that type of selector switch, you'd solder the pickup output to the tab on the side you want the switch to select that pickup. so if you want the standard arrangement of down for bridge and up for neck, then the bridge pickup is soldered to the lower outer tab and the neck to the upper outer tab.

That type of switch works by actually being two 'normally closed' switches joined together. In the centre position, both contacts are made. In the 'down' position, the lever pushes away the upper metal contact spring from the centre contact block, so that only the lower metal contact spring makes contact. In the 'up' position, the reverse happens.

The enclosed 'box' type of switch (the type normally supplied on PBG kits) works in a different way, and with the switch in the 'down' position, contact is made between the upper terminal and the centre terminal (and vice-versa).

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So I’ve had another look and the pup selector makes sense now phew!!! How do I know which way round the jack socket wires go...

https://i.imgur.com/G4nkttw.jpg

And then where do the pup wires get soldered? The diagram seems to say one to the volume and one to the back of the one of the volumes?

https://i.imgur.com/FhJVnYH.jpg

And finally what’s the extra wire coming from one of the tone pots??

http://i.imgur.com/BUunINj.jpg

Haha that’s it for now (probably have more questions in 2 mins!) and thanks for all the support!

I’m really enjoying doing this but it certainly does give me brain ache very quickly! Very envious of all you knowledgable chaps!

The braided wires are the ground connections (pickups and output wires) so go to the back of the pots (pickups) and to the sleeve connection (jack socket). On the jack socket, the sleeve connection is the one at the top, that is pressed to the metal barrel that runs through the jack socket and which touches the 'sleeve' part of the jack.

'Mono' jacks are better described as TS jacks (tip + sleeve) whilst 'Stereo' jacks are better described as TRS jacks (tip + ring + sleeve).

The spare wire on the back of the pot is the bridge ground wire.

So I’ve been piling away and buffing this morning and the finish is getting to where I want it! Certainly not perfect but I’m chuffed with it...

https://i.imgur.com/C7LKY1S.jpg

Just keep rubbing away!

If you want to identify it, I'd print out a label and glue it in so it can be need through the soundhole before you put any pickups in (to make it easier). E.g. Gibson use an oval orange label.

Attachment 34020

Looking good. I bet you like the way the grain changes when you move it around in the light.

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Originally Posted by DarkMark

Looking good. I bet you like the way the grain changes when you move it around in the light.

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Chatoyance

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Chatoyance

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I had to look it up...

I thought maybe your cat walked across your keyboard :o

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Originally Posted by McCreed

I had to look it up...

I thought maybe your cat walked across your keyboard :o

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Ahaa, nah that's the technical term.
Although my cat really does like to walk across my keyboard. Especially when I'm trying to do something important or in the middle of trying punch in an overdub [emoji252]

Quote:

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Originally Posted by Simon Barden

Whilst I'd still be tempted to leave it a little longer before doing anything to the neck joint, you can obviously start to have a look and see if there's anything in particular stopping the neck fitting in fully. I'd rub some chalk on the pocket join area, push the neck in and the high spots should leave a mark on the sides of the heel. You can sand those down, repeat, sand repeat until it all fits nicely.

Not a great pre-wired harness you've got there. I'd be tempted to start again as the wiring lengths between the volume and tone pots are rather excessive and the wires will tend to flap about inside a bit. The pots with the green capacitors attached are the tone pots, the other two are the volume. The long bits of wire attached to the volume puts are the pot outputs which run off to the selector switch.

The red wire attached to the back of one of the tone pots is the ground wire for the bridge.

It's made slightly more confusing due to the factory wiring the pots in shielded cable, rather than the singles cores the wiring diagrams normally use. In some instances, you want to use the braid as a ground link, and sometimes it only needs to be connected to ground at one end.

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So in terms of the neck, in the PGB instructions it tells you not to sand the floor of the neck pocket or the bottom of the heel as there is a break angle incorporated so I’m a bit stuck!

There is a gap on one side of the neck (shown before) and the whole fret board seems pretty high when the neck is in place...I measured it at 15mm from the body to the fret board.

Not sure what to do about this...I know you suggested the chalk technique but without sanding the bottom of the neck or neck pocket how am I meant to sort it out?

Does it sound right or is the neck not right?

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Originally Posted by Bakersdozen

Chatoyance

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I also had to look it up. I never knew there was a word to replace my 11 word description. I’ll think of you when I use it in a current build diary.

I’ve noticed that the volume and tone pots are the wrong way round compared to PBG advice (A = volume B = tone) does this matter?

I also think I’ve found another stumbling block...the wire from the P/Up selector to output isn’t long enough to reach...any ideas on what to do?

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There is a gap on one side of the neck (shown before)...

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That gap on on the treble side of the fretboard does look a bit excessive but the "overhang" of the fb is not meant be joined to the body on that style of guitar. The mortise and tenon are the contact (glued) points of the joint and they're off-centre creating that overhang.
As long as the bottom (and sides) of the heel (tenon) are respectively flat and tight in the pocket (mortise) then there should be no problem. (I don't recall a photo of that part of the joint)

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...and the whole fret board seems pretty high when the neck is in place...I measured it at 15mm from the body to the fret board.

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I have not built an ES kit, but guitars that use a TOM (Tune-o-matic) style bridge and ring-mounted humbuckers tend to have the fretboard a bit higher, than say a strat or tele, in relation to the body to clear the height of the elevated pickups and accommodate the bridge height.

My set-neck and LP-style guitars all sit about 11mm from the body to the centre of the fretboard radius, so 15 may not be that extreme. Again, I have no personal experience with the ES kits.

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I’ve noticed that the volume and tone pots are the wrong way round compared to PBG advice (A = volume B = tone) does this matter?

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Yes, and no. Electronically speaking one or the other are not right or wrong. They will each do the job, albeit slightly differently, but convention is A volume; B tone. It's more personal preference and how a player uses (and hears) the controls.

I've recently started using A (audio/logarithmic) pots for both volume and tone, but I have plenty of guitars that are A volume, B tone. I've had lots of import guitars on my bench that have the reverse like yours and I just leave them unless instructed otherwise.

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I also think I’ve found another stumbling block...the wire from the P/Up selector to output isn’t long enough to reach...any ideas on what to do?

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Sorry to sound like a smart-arse but, solder on a longer wire... :o

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Originally Posted by Scramblermatt

... but without sanding the bottom of the neck or neck pocket how am I meant to sort it out?

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I had to mess with the neck angle on my ESB-4 for a non standard bridge. Its not what I'd call super difficult, just need to be slow and painstaking, and I suggest not use sandpaper. I used new Stanley knife blades as scrapers, and a caliper and a little baby steel set square such as are sold for modellers.
Scraping the surface with the blade at 90 degrees to the wood gives you much more control and makes it way easier to keep the surfaces flat. With sandpaper, even with a block, I find it awfully easy to end up with a curved face. Perhaps the trickiest part is to establish whch are the correct surfaces to use as a datum. This involves much measuring with the calipher and much testing with the square. Make sure you check all surfaces are flat too.
With the scraping I usually scribble soft pencil where i want to scrape and check again when removed.
Long job, do it in a comfy chair with dust sheet, but I find the scraping much more relaxing and satisfying than sanding.
Caveat. I have no training, there may be better ways to work, but it seems much safer to me because its slow and controlled, and because he frequent checking required to renew the scrape here scribble makes it hard to go too far as is easy to do with plane or power dander

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Originally Posted by McCreed

That gap on on the treble side of the fretboard does look a bit excessive but the "overhang" of the fb is not meant be joined to the body on that style of guitar. The mortise and tenon are the contact (glued) points of the joint and they're off-centre creating that overhang.
As long as the bottom (and sides) of the heel (tenon) are respectively flat and tight in the pocket (mortise) then there should be no problem. (I don't recall a photo of that part of the joint)



I have not built an ES kit, but guitars that use a TOM (Tune-o-matic) style bridge and ring-mounted humbuckers tend to have the fretboard a bit higher, than say a strat or tele, in relation to the body to clear the height of the elevated pickups and accommodate the bridge height.

My set-neck and LP-style guitars all sit about 11mm from the body to the centre of the fretboard radius, so 15 may not be that extreme. Again, I have no personal experience with the ES kits.



Yes, and no. Electronically speaking one or the other are not right or wrong. They will each do the job, albeit slightly differently, but convention is A volume; B tone. It's more personal preference and how a player uses (and hears) the controls.

I've recently started using A (audio/logarithmic) pots for both volume and tone, but I have plenty of guitars that are A volume, B tone. I've had lots of import guitars on my bench that have the reverse like yours and I just leave them unless instructed otherwise.



Sorry to sound like a smart-arse but, solder on a longer wire... :o

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Smart arses are most welcome!! So for both wires (ground and normal) it’s ok to just solder a normal bit of wire to each to make up the length?

Thanks for the advice chaps!

Yes, but don't forget to put a bit of heatshrink tube over the join.

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So for both wires (ground and normal) it’s ok to just solder a normal bit of wire to each to make up the length?

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You can do it that way, but if I were doing it, I would use a longer piece of single conductor shielded wire (just like the red one you have - but longer). In a hollow body, the less loose wires you have inside, the better. Also you gain the shielding affect of the braided portion (also acting as your ground).
However, if you only have single core wire at your disposal, you can do it as you suggested.

If you do use two separate wires, be sure and do this:

- insulate the solder joins (as Jim said). Preferably with heat shrink tubing not tape.

- after you've soldered the extensions on and insulated the joins, twist the 2 wires into a helix formation and shrink some tubing over the helix before you solder to the output jack terminals. Just be sure to leave enough "untwisted" that you can freely solder the ends.

Doing the second step will keep things tidy and give the benefit of acting like a shielded coaxial cable. (like "twisted pair" mic & instrument cables)

Good luck and happy soldering!

Edit: Just wanted to add, the twist in the 2 wires doesn't need to super tight, just kind of a moderate helix, if that makes sense.

Quote:

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Originally Posted by McCreed

You can do it that way, but if I were doing it, I would use a longer piece of single conductor shielded wire (just like the red one you have - but longer). In a hollow body, the less loose wires you have inside, the better. Also you gain the shielding affect of the braided portion (also acting as your ground).
However, if you only have single core wire at your disposal, you can do it as you suggested.

If you do use two separate wires, be sure and do this:

- insulate the solder joins (as Jim said). Preferably with heat shrink tubing not tape.

- after you've soldered the extensions on and insulated the joins, twist the 2 wires into a helix formation and shrink some tubing over the helix before you solder to the output jack terminals. Just be sure to leave enough "untwisted" that you can freely solder the ends.

Doing the second step will keep things tidy and give the benefit of acting like a shielded coaxial cable. (like "twisted pair" mic & instrument cables)

Good luck and happy soldering!

Edit: Just wanted to add, the twist in the 2 wires doesn't need to super tight, just kind of a moderate helix, if that makes sense.

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Do you mean replace the whole wire with a longer one?? And how would I get the ground wire too? Or does that come in certain wires already?

Sorry I’ve never done any electrics before so have no idea about this!

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Do you mean replace the whole wire with a longer one??

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Yes

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And how would I get the ground wire too? Or does that come in certain wires already?

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The red wire that came with the kit (the one that's too short) is known as "single core shielded wire" (or cable).
It has the inner insulated wire (the "single core") next there is the braided wire (the "shield") and last is the outer insulation (the red pvc).

The single core is your positive (or "hot") lead that goes from the middle terminal of the 3-way switch to the "tip" terminal of the output jack.
The braided shield is also your negative (or "ground") which goes from the big lug (opposite the 3 positive terminals) of the 3-way switch to the "sleeve" terminal of the output jack.

NOTE: The photo shows a 3 terminal jack. Just ignore the middle one and look at the wire.
Attachment 34043

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Originally Posted by McCreed

Yes



The red wire that came with the kit (the one that's too short) is known as "single core shielded wire" (or cable).
It has the inner insulated wire (the "single core") next there is the braided wire (the "shield") and last is the outer insulation (the red pvc).

The single core is your positive (or "hot") lead that goes from the middle terminal of the 3-way switch to the "tip" terminal of the output jack.
The braided shield is also your negative (or "ground") which goes from the big lug (opposite the 3 positive terminals) of the 3-way switch to the "sleeve" terminal of the output jack.

NOTE: The photo shows a 3 terminal jack. Just ignore the middle one and look at the wire.
Attachment 34043

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Amazing thanks for that idiot proof explanation (it was much needed)!!!! Now to find some single core shielded cable!!

Hi chaps, I hope you’re all staying healthy!

So I’m in wiring hell!!! I’ve basically rewired the whole thing and can’t get any output from the bridge pickup...I’ve followed the wiring diagram and can’t spot any mistakes but still nothing!

And weirdly when I select the middle position (both pickups) I get no output either?? The neck works fine when in the rhythm position but nothing in middle or treble positions...PLEASE HELP!!!!

Ahahahahaha!

Thanks again!

Oh my god call me Leo Fender I think I fix it...hahahaha!

Hey, Leo, what did you do? ;)

Just re-soldered it and it worked!

Hmmm chaps I’ve hit quite a sizeable stumbling block...

I’ve got my bushings in for the bridge and the stop bar fits fine BUT the actual bridge bit doesn’t fit. Once you screw the poles in they’re too close together!

Obviously when I fitted it at the beginning with foam around the poles it must have been pinching in a bit and I didn’t notice!

Am I screwed now or is there a fix that doesn’t involve trying the get the bushings out as they were a really tight fir and I’m not sure they’ll come back out!