As I grow older, I increasingly reflect on my experiences and how they have contributed to my knowledge and understanding. I am also seeking ways to capture my lessons and pass them along to others. Many of my accomplishments were made possible by the generosity of those who took the time to educate and train me, and now, I feel compelled to pay it forward and help the next generations.
Since most of my work relates to software and business, which can be challenging to demonstrate easily, I began exploring ways to bring these concepts to life using tangible, real-world examples.
In early February 2024, I embarked on this series exploring the interplay between education and experience. As a hands-on project, I decided to build an SG-style guitar, which is a long-held desire of mine. Despite having some basic guitar skills and knowledge in DIY projects, including woodworking, I knew this endeavor would challenge me in ways I couldn't yet foresee.
This introduction sets the stage for the series and the specific project you've chosen, allowing readers to understand the context and your goals. It also creates anticipation for the challenges and lessons you'll encounter throughout the guitar-building process.
To begin with, I carefully considered which kit to purchase. As a first-time guitar builder, I sought a balance between affordability and quality, ensuring I could use the instrument even if I made mistakes or at least feel good about the learning. After researching various suppliers, I settled on a kit from Leo Jaymz (https://www.leojaymz.com/), which cost just over $100.
Upon receiving the kit, I eagerly unboxed it, finding the body, neck with attached fretboard, and a bag containing the remaining components, such as tuning machines, strings, bridge, tailpiece, pickups, and hardware. In my excitement, I made my first mistake: failing to examine each part thoroughly. Later, I would discover that one tuning machine was unusable due to a manufacturing defect. Fortunately, Leo Jaymz promptly replaced the entire kit without any hassle.
I began by sanding the body, starting with coarse 120-grit sandpaper and progressively moving to 320-grit until the surface felt smooth. Although I had always envisioned a classic red SG, I decided to experiment with the stains and finishes I had on hand, including Golden Oak, Mahogany, and Walnut stains, as well as Tung oil and shellac.
I applied several coats of stain, followed by Tung oil, adhering to the recommended application and drying times. However, I noticed inconsistencies in how the wood absorbed the stain and oil, leading to my second learning opportunity. The body and neck had a pre-existing finish that hindered the penetration of my stain and oil. Had I realized this earlier and sanded more aggressively, I could have achieved a more consistent and deeper finish.
Additionally, I observed that the body was thicker than most genuine SGs, allowing room for more aggressive sanding and contouring. The kit had the basic shape, but the contours appeared to have been created with a quarter-inch round-over bit, lacking the aggressive curves of an authentic SG.
After allowing the oil to dry, I attempted a French polishing technique using shellac. While pleased with the overall results, I discovered that the guitar face's curves, holes, and cutouts made the process challenging. I learned that rushing this step was inadvisable and that a grain-filling operation or a primary coat of diluted shellac would have improved the outcome.
Due to the factory finish, my stain and oil didn't penetrate as deeply as I had hoped. When I sanded for the final prep before applying shellac, I inadvertently removed some of the Tung oil and stain. Feeling frustrated, I hastily applied a thick final coat of shellac, which led to issues with the final finish.
Eager to play, I proceeded with neck fitment and glue-up, only to encounter another issue stemming from my inexperience. I had failed to ensure proper alignment between the neck angle and the bridge, resulting in the strings sitting too high off the fretboard. Thankfully, the kit's affordability allowed me to rectify this mistake by using a pneumatic die grinder with a tungsten bit to remove material from the bridge base, lowering it further than normal and achieving proper action height and intonation.
I made a final mistake by installing the tailpiece bushing before placing a ground wire. I used magnet wire to rectify this, running it from the pickup area and attaching it to the bridge. While not perfect, it is functional and not overly noticeable.
With the guitar fully assembled, I focused on shaping the headstock. Using the included stencil, I traced the outline and used my limited hand tools to achieve the best result possible. Although not flawless, I felt satisfied with the outcome.
I would like to thank Leo Jaymz for the replacement, and I strongly recommend the kit to anyone wanting to learn more about building an electric guitar.
Despite the kit arriving with an unfinished tuning machine, I manually drilled it out, resulting in a playable guitar. After adjusting the truss rod to add relief, I could enjoy the fruits of my labor. While I had watched countless hours of guitar-build videos and had experience repairing acoustic and electric guitars, I still encountered unforeseen challenges. I made numerous mistakes throughout this seemingly simple process. This experience perfectly aligns with the themes of education and experience explored in this series.
I am enjoying playing this guitar, with my only complaint likely stemming from my skill level and the included strings. The strings struggle to hold a tune for extended periods, and pressing them down firmly can cause the pitch to go sharp. I am practicing a lighter touch and plan to experiment with higher-quality strings.
