1

Overview - Download for better viewing. Double Cut LP Junior Design Study- ver. 2.1 http://www.mylespaul.com... subscriptions.html 44 x 34”
http://www.tdpri.com/forum/misc.php?do=donate
Body: flat sawn mahogany If found re-uploaded online, check for revisions here: Ver. 2 Changes:
thickness: 1.75 to 1.78125
length: 16.138* http://www.mylespaul.com/forums/luthiers-corner/212273-les-paul-junior-pdf.html 1. Width of neck at nut widened by 1/64th from 1.6875 to 1.703125 (1-11/16ths to 1-45/64ths).
width: 13.00 It results in slight changes to the headstock transition, taper of the neck, the tenon width and the neck pocket.
Blue type denotes a clickable link throughout this pdf.
2. Corrected a mistake on the tapered thickness of the fretboard. For some reason, the nut end was drawn as 0.200”
DXF file if needed: (line segments may need to be rejoined into closed paths) thick when it should have been 0.220”... a typo that “someone” kept copying and pasting. It’s now drawn as 0.217”
https://www.dropbox.com/s/39lajijp5k080dw/DCLPJr.dxf (see pg. 24).
The effect was that the board was thinner at the first fret than it should have been... and the side profile of the mahogany
Measurements given in full (excessive) decimal form due to an odd personailty defect.
part of the neck thicker than it should have been by about 1/64th. This could have been corrected when carving the
6 decimal places = a 64th. 5 = 32nd. 4 = 16th. 3 = 8th. 2 = quarter. neck, but still... mindless mistake.

bridge position depends on: Measurements tagged with an * are not exact fractions. 3. has to do with the truss / compression rod (see pg. 26).

a. actual fret scale used Spreadsheet - fractions tab for quick reference and conversion to mm. 4. control cavity cover ledge depth - the measured body was a tad thicker than 1.75” and the set depth of the overhead
b. type of bridge used pin router made the ledge deeper than it needed to be by the amount the body exceeded 1.75”.
c. slant of bridge desired Borders drawn in 1 x 0.25” blocks to stated page dimension for checking printer accuracy
5. page 4 - self explanatory
See pg 37

neck and headstock

angled up
to show full size

14.074* 12.031* 8.4375 4.875 2.8125

3.00
2.375

drilling from back Headstock template

18 R

the exposed heel varied

0.40625 D but a trend was present 1.375
0.875
58 sc type heel 0.75 2.75 2.670* 2.4375
1.75 1.75
59 a bit rounded 0.625
59 flattened 1.270* 3.3125 5.0625 6.8125
0.75 0.8125
5.272* neck side profiles drawn 0.875
with this shape in mind
50° 1.717* 3.005*
1” D
6.498*

Neck: quarter sawn mahogany 0.240* 0.3125 0.9375 D side dots frets measured 0.10 wide x 0.043 high rev. 2 0.217* 12” R 0.187* 12” R
2.25 1.703125
grain perpendicular to face
thickness: 2.560*
length: 27.530*
width: 2.335*
rotation point
6.8125
1.375 0.625 0.771*
1.375
2.8125 2.8125
3.8125 0.50 17°
1.006* 0.980* 0.946* 0.911* 0.890* rev. 3
tangent point
for neck angle 1.495* 1.3762*
2.560*
0.177* 0.162*

27.530*
back cutting 2.25
2.8125 18.078125
very 0.50
close 0.1875
0.25
2.335* 0.3125 R 0.25 D
early 58 - large guard 2.8125 plastic 24.75 2.15625 2.335*
rule of 18 0.1875 cut wide
1.4375 pearloid
59 2.1875 at
dashed line 90°
note glue lines and to neck angle line then tenon
3/16 R roundovers planed end
smooth
headstock view distorted by 17° angle back
0.125 rev. 1 1.703125
nut width 0.50

2.25 R on some other models, the whole length of

the wings are glued on first and the 2.25 R the neck blank can be ripped to a 2 -3/16ths
transition is routed along with the sides of width before gluing on the wings... not here.
the neck rather than with the headstock.
6.625 4.875
0.063*

0.1875 R 0.577*

0.375 link 1/32nd deep nut slot to clean up the edge of the headstock
1.75 0.875 (since there’s no veneer on a Junior to take care of that)
0.25
1” D 0.280* 0.329*
rev. 4 1.375
3/16ths D 0.553* 0.585* 0.364* above face
center 0.125
see pg 7
0.375 0.625 0.372*
0.625* 0.380*
0.620*
0.612* 0.59375
Jack Plate The Rist Option “genuine” brand covers
Control Cavity 1.625
blk - w - blk 1.1875 D 0.604*
0.078 thick 3.71875 1.75
1.40625 0.3125 R 0.25 R 0.0625 1.375 0.28125 R
2.53125 4.6875
3.8125
0.375 D 3.453125 0.53125 3.359375 3.390625 3.40625
Cover Ledge View from Back
1.46875 D
bridge ground .022
4.28125 1.9375 uf
0.4375
1.00 0.1875 R braided pickup wire 500k 250k
2.8125 1.196*
1.3125 2.0625
square
4.25
2.40625
Back Cover 0.9375 0.040*
1.4375 1.03125 sleeve
0.09* thick vol - 500k split shaft audio taper pot thick
0.03125 tone - 250k split shaft audio taper pot tip
jack plate, pick guard and 0.022 uf/mfd non-polar cap 1/4” #3 round head screws
back cover countersunk for 0.15625 for truss rod cover and
mono jack
0.375” #3 oval head screws 0.03125 dog ear pickup cover
 blue lines = how it’ll be drawn here...
2
Tracing scanned, imported to cad and recreated matching body and neck center lines
22 x 17”

outline:
it’s a special sort of madness,
but there is a method to it.

the aluminium templates

may well have been end
milled on a rotary table.

pickup route
bushings set by a jig placed on the neck square to
after the neck was glued in place neck pocket
as the neck fit may not
have always been perfect

neck center line

0.686°
to body centerline

if you look at a dozen double cuts,

you’ll see worse... in both directions

on a single cut junior, the treble side

of the neck pocket tells the story.
channel: as a separate operation, one
or both of the 1/32nd soapbar ledges on the double cut, it’s the fit of
in the lower left corner often (partially the bottom of the pick guard in
vol. & tone holes 1.475° or fully) disappeared in production relation to the body outline as
to body center line the flat of the guard is flush
to the butt end of the neck.

the pickup route is cut

control cavity routes to the neck pocket, so
around 1° to body center line the guard will be fairly
consistent in relation
to the pickup cover.

...pragmatic production.

although it’s close to being exaclty 50°

it was probably drawn as 51.05°... Quiz time: see if you can guess the
in line with how the body outline was drawn direction of the neck center line here
the info below the vids is sometimes
interesting... i.e. this 58 has a 7.94k
pup which is what they were putting in
the bridge position of their single cut
specials around that time. It would go
higher by the end of 58.
 3
Body Layout symmetrical 22 x 17”

as measured 1.40625
see next page

3.453125
4.28125
2.8125
copy of cover ledge
1.46875 as drawn below

3.00

2.338*
0.3125 R

0.3125 R 5/8 D 2.25

14.074* 9.625 to center of controls 4.875 2.8125

2 passes 0.50 D bit

0.53125
3.71875 outline is straight
0.0625 (see pg 8) between hash marks
1.46875 2.53125 3.359375

3.00
1.1875
tracing the control cavity on the
front may help in marking the
vol. and tone holes for drilling
2.375
Vol and Tone pot holes: 1.03125
0.40625 D (13/32 drill bit)
2.75 for 3/8 D bushings
1D
0.9375

symmetrical

round over see pg. 7 see pg 9

0.1875 R 0.375
0.375 baseplate
0.875 to wood
0.25
1D 13/32 D 0.280* 0.329* 1.75
1.375
3/16ths D 0.553* 0.585* 0.75
center 0.125 one route
see pg 7
0.375 0.625
 4
Control Cavity and Cover Ledge Cavity Cover 11 x 17”
1.4375
In version 1, the control cavity and cover ledge were tagged with the diameter
forster bit one could use in blocking the routes... without checking to see if 0.15625
1.1875 and 1.46875 bits were even available. They’re not. At least they’re
not easy to find.
4.25 0.03125 gap
1.125, 1.25 and 1.50 are readily available.
The next two pages are adjusted with these diameters in mind.

Cover Ledge
As measured: 4.28125
4.3125
2.8125

1.46875 1-15/32 1.50

cute
2.8125
1-3/16 1.1875

2.53125
3.71875

CTS pot. 0.957*

Control
Cavity 2.53125 1.50 & 1.125
Options

1” D bit 3.53125
to reduce the gap around the cover from 1/32nd to the original
1-1/8 D bit 3.65625 1/64th, you could line the template with a few layers of tape.
1-1/4 D bit 3.78125 0.005” thick foil tape - less spongy than paper tapes
 5
Alt. Body Layout symmetrical 22 x 17”

1.125 Control Cavity 1.40625

1.5 Cover Ledge

3.453125
4.3125
2.8125
copy of cover ledge
1.50 as drawn below

3.00

2.338*
0.3125 R

0.3125 R 5/8 D 2.25

14.074* 9.625 to center of controls 4.875 2.8125

2 passes 0.50 D bit

0.53125
3.78125 outline is straight
0.0625 (see pg 8) between hash marks
1.50 2.53125 3.359375

3.00
1.125
tracing the control cavity on the
front may help in marking the
vol. and tone holes for drilling
2.375
Vol and Tone pot holes: 1.03125
0.40625 D (13/32 drill bit)
2.75 for 3/8 D bushings
1D
0.9375

symmetrical

round over see pg. 7 see pg 9

0.1875 R 0.375
0.375 baseplate
0.875 to wood
0.25
1D 13/32 D 0.280* 0.329* 1.75
1.375
3/16ths D 0.553* 0.585* 0.75
center 0.125 one route
see pg 7
0.375 0.625
 6
Alt. Body Layout symmetrical 22 x 17”

1.25 Control Cavity 1.40625

1.5 Cover Ledge

3.453125
4.3125
2.8125
copy of cover ledge
1.50 as drawn below

3.00

2.338*
0.3125 R

0.3125 R 5/8 D 2.25

14.074* 9.625 to center of controls 4.875 2.8125

2 passes 0.50 D bit

0.53125
3.65625 outline is straight
0.0625 (see pg 8) between hash marks
1.50 2.53125 3.359375

3.00
1.25
tracing the control cavity on the
front may help in marking the
vol. and tone holes for drilling
2.375
Vol and Tone pot holes: 1.03125
0.40625 D (13/32 drill bit)
2.75 for 3/8 D bushings
1D
0.9375

symmetrical

round over see pg. 7 see pg 9

0.1875 R 0.375
0.375 baseplate
0.875 to wood
0.25
1D 13/32 D 0.280* 0.329* 1.75
1.375
3/16ths D 0.553* 0.585* 0.75
center 0.125 one route
see pg 7
0.375 0.625
 7
Drilling and routing sequence Roundover 22 x 17”

Drilling the pot holes deeper than 1/4” before routing the control cavity gives you a nice flat mounting Until around the end of 58, the round over
surface for the controls inside the cavity instead of ragged tearout from drilling after routing. was a standard 3/16 that went straight
through the neck pocket. It’s probably
Jack hole: There’s potentially a trap here that’s caught both the experienced and inexperienced alike... best to do the round over before routing
sometimes more than once. Take care not to fall into it... literally. large guard pic again the neck pocket to avoid the chance of
The template is much easier to realign to the routed body before you do the roundover - while it’s sharp messing up the corners.
pickguard extends over
edge to sharp edge. As such, the roundover is often one of the last things done to the body. the rounded edge
To avoid tearout from drilling the jack hole into the control cavity (especially if drilling by hand), many will
drill the jack hole before routing the cavity. It just makes sense... but after they route the control cavity
and cover ledge, they go to do the roundover and the guide bearing on the roundover bit falls into the
previously drilled jack hole... the roundover bit cuts further into the body... much cursing ensues.
The
One way to be sure to avoid such a potential mess is to align the template and trace the inside of the 0.1875 R
control cavity and cover ledge routes onto the back of the body (to realign them later), do your roundover link,
on both sides, drill the jack hole and then route the control cavity and cover ledge. again
Tracing the inside of the control cavity route on the front of the body also helps in marking the centers of
the pot holes for drilling... before the control cavity is routed, of course. By 59, the round over was... rounder.
check roundover bit before drilling jack hole
0.1875 or 0.25 (3/16ths shown)
0.375
Fair Warning:
0.25 stop Use of a stop block takes some of the
1D 59 pic... again block “excitement” out the routing experience.
pickguard extends over
0.375 the rounded edge 2.25
on the bass side
shape and blend the curves with
sandpaper after routing

Drilling for Wire

0.1875 or 0.25 (3/16ths shown)
Pic of Drilled Holes 7/64ths D
also shows:
disappearing ledge
and angled route In the linked pic, a pre- tinned solid 18 gauge
ground wire comes from the treble bushing to the
pickup cavity and makes a wide u-turn down the hole
3/16ths D to the control cavity. The ground hole is angled away from
the hole to the control cavity to avoid making too sharp of a
corner that might fatigue the wire and lead to a break. (is that
cotton cord under the wire at the bend to cushion it when pulled?)
The hole to the control cavity requires at least an 8” drill bit... a 12” aircraft bit stop 0.625 stop 0.875
would be better. Judging from the pic, they put the point in the corner at what’s block block
left of the ledge, aimed the bit at the edge of the Vol. pot hole (or a little outside
the edge to get it slightly further from the bushing hole), leaned the drill down
1960 - pic 1
until it was resting on the front edge of the pickup route and then drilled. You
can protect the p’up route edge with cardboard, etc. If you’re uncomfortable 1960 - pic 2
drilling at an angle, you can always make a drill guide of somewhere around 15º.

15º

oops! in 58
 8
Neck Pocket ... meet Matt King 22 x 11”

In version 1, two neck pockets were drawn. One was the Another approach would be to block the pocket right on
perfect extension of the sides of the neck. The other was the lines of the printout, route the template and then 0.3125 R
based on the measurements and suggests a pinched compare the neck to the pocket and adjust as necessary
pocket where if everything were cut to absolute perfection by lining the inside of the route with tape to ensure the 2.335*
(yeah... right), the sides of the tenon would still require the tenon will need to be sanded down for a snug fit.
sanding during the neck fitting process.
The difference between this method and the pinched 0.3125 R 2.25
The width at the nut changed in version 2... which changed 5/8 D
pocket is that the 2.25” at the outside edge of the pocket
the taper of the sides slightly... but not enough to matter. would also be reduced by the tape. If you use the pinched
pocket, angle the tenon when sanding such that you don’t 4.875 2.8125
leave gaps where the neck meets the body (join line).
neck sides extended

2.335* 2.326* at widest 2.25

ver. 1 was 0.003* off

2.338* unradiused 0.0625
2.328* at its widest

the actual tenon measured 2.308* at its widest

pinched pocket 2.335* 2.333*

2.3125 2.306* at widest 2.25 0.3125 R 0.3125 R

2.25 2.25
0.010* of tenon 0.25 R in Red If, for whatever reason, you want or need 0.25 R in Red
sanded off each side to use a half inch bit for the neck pocket
2.8125 (leaving a 0.25” corner radius), then you’ll 1.75
at widest point
want to shorten the pocket (and later, the
tenon) by a sixteenth to keep the corner
of the pocket covered by the pick guard

Granted, wood can expand and contract significantly cross

grain and the measured guitar is well over 50 years old,
0.0625
but either way, it’s a valid approach to getting a proper fit.
 9
A Dog Ear Cover Over a Soap Bar Route Routed at an Angled Depth Shopping or Winding 22 x 11”

Compare this after-market cover to the drawing The route’s dimensions give a “genuine” soapbar The pickup route template / jig was most likely multi- Soapbar P90s can and have been used in Juniors
below. The spread for the poles is 50mm (center cover a 64th gap on either side and a 32nd gap purpose - also used for specials. There’s no real under a dogear cover. If you use screws, you
of high E to low E) instead of 1 -15/16ths. 50mm top and bottom. The corner radius of the route is reason a dog ear route needs to be angled at 2º... might want to countersink their holes in the bobbin
pickups probably won’t work with a “genuine” cover a 32nd larger than the corner of the cover. unless you’re a purist. Routing to an even depth so the pickup sits flush inside the cover.
without elongating the holes... and vice versa. is much simpler.
The sides of the cover slant in slightly toward the DC Junior P-90s are commonly around 8.2 to 8.3k
Secondly, the linked aftermarket cover is 0.045 top so that the plastic comes out of the mold easier. The channel... the center is wider than it needs to with A5 magnets (not necessarily fully charged).
(nearly 3/64) shorter than the “genuine” cover used It measures 1.385 x 3.395 at its base. be because a shop standard half inch bit had to go
for the angle height measurements on page 25. up and back. 4 digit dc specials used 8.2 to 8.3k in the neck
position and beefed up the bridge to 8.9 - 9.1k.
Some of those 9k pickups found their way into
single p’up double cuts... as well as a high 7k here
“Genuine” Dog Ear Cover “Genuine” Soapbar Cover The Rist Option and there. A late 57 special (single cut) had the
over grayed out measured route inside grayed out measured route neck p’up in the mid 7s and the bridge p’up just
under 8... high 7s.
0.4375 0.375 0.625 0.375 not all P-90s are the same...
not all vintage P-90s are / were the same...
1.625 choose your poison.

1.375 0.28125 R You aren’t likely to hear an extremely overwound

4.6875
9k P-90 used to demonstrate tonal versatility.
3.8125 the 8.2 - 3 is Hot... perhaps at the cost of some low
3.40625 3.390625
end and dynamics in comparison to the prized 57s.
Freddy G heating up a 61 (8.16k - A5)
1.9375
a 57 in a single coil demo (I wish I knew)
one of each, please... kthnxbye

More information than you’re likely to want

links from the page:
3.453125 See Note 3 on gauss and P-90 graph
Compare Note 3 to measured P-90 gauss levels
0.3125 R 1.40625
The gist is: get your pickup and cover in hand first ...or just listen to some Black Crowes until the haze
The angled route measured 1.405 x 3.455 to measure and design the route & channel to fit. goes away.
 Volume - 500k split shaft audio taper pot - CTS brand preferred
10
8.5 x 11”
margins
Tone - 250k split shaft audio taper pot - CTS brand preferred for home
printing
0.022 uf / mfd non-polar capacitor

Warning: types of capacitors are a can of worms in various forums.

They used everything from cheap ceramic disks to mylar to paper
in oil - all rated for high voltage because they bought them in bulk
for building high voltage tube amps. imo, cheap mylar or polyester
would be more than adequate. Feel free to disagree.

bridge
ground
braided View from Back
pickup
wire .022
uf
500k 250k

New to wiring and soldering?

2 tabs bent up and soldered to casing sleeve
unused tab on tone pot was usually clipped off mono output jack
they took great care in insulating leads to avoid shorts
tip
 11
Plastics 11 x 17”
3/64 1/64
58 tracing Pickguard Material 59 tracing
0.71 thick 0.71 thick
or
cut celluloid
(scroll down)
3 holes relocated slightly.
this center hole remains
in exactly the same place
as on the 58

jack plate, pick guard and

back cover countersunk for
Jack Plate
#3 oval head screws (0.375”)
blk - w - blk
0.078 thick

Back Cover
1/4” #3 round head screws 1.4375
1.196* 0.09* thick
2.0625 for truss rod cover and 0.375 D
dog ear pickup cover 0.15625
2.40625
0.040* 1.00 0.1875 R 4.25
thick 1.3125
square
 Spreadsheet - also in mm Stewmac Fret Calculator
12
Fret Scale (reference) 11 x 17”
Rule of 18 Rule of 17.817 Rule of 17.817 Rule of 17.817
Unless otherwise noted, the scale is drawn as 24.75 Rule of 18... though any 24.75 24.5625 24.5700 24.625
of the other 3 scales shown to the left will work just fine. The only caution would
Gibson Stewmac even @ 12th fret LMII
be in using a pre-slotted 24.5625 board from Stewmac.
0 from nut from nut difference from nut difference from nut difference
Stewmac’s pre-slotted boards come slotted for 24 frets. To totally remove the
23rd fret slot, their board would need to be cut 3/64ths shorter than what’s drawn 1 1.3750 1.3786 0.0036 3.3790 0.0040 1.3821 0.0071
here (18 -5/64ths). The neck itself would also need to be shortened by that 2 2.6736 2.6798 0.0062 2.6806 0.0070 2.6866 0.0130
amount and its sides retapered (as on pages 33 to 36).
3 3.9001 3.9080 0.0079 3.9092 0.0091 3.9179 0.0178
If you’re cutting your own slots to the 24.5625 scale, the slightly shortened neck 4 5.0584 5.0672 0.0088 5.0688 0.0104 5.0801 0.0217
will give you a 22nd fret to end of board length that’s closer to the original.
5 6.1524 6.1614 0.0090 6.1633 0.0109 6.1771 0.0247
A 24.625 scale board from LMII is another pre-slotted option.
6 7.1856 7.1942 0.0086 7.1964 0.0108 7.2125 0.0269
The 24.625 rule of 17.817 scale is essentially the same as the 24.75 rule of 18 7 8.1614 8.1690 0.0076 8.1715 0.0101 8.1898 0.0284
board at the 22nd and 23rd fret... which means the gap between the 22nd fret
and the end of the board would be the same for each. As such, it’s a Rule of 8 9.0830 9.0891 0.0061 9.0919 0.0089 9.1122 0.0292
17.817 drop in replacement for the original Rule of 18 board length. 9 9.9534 9.9576 0.0042 9.9606 0.0072 9.9829 0.0295
Center of 22nd fret to end of board: (an aesthetic that catches my eye) 10 10.7754 10.7773 0.0019 10.7806 0.0052 10.8047 0.0293
0.366* - 24.75 - Rule of 18 - original board length 11 11.5518 11.5510 -0.0008 11.5545 0.0027 11.5804 0.0286

0.363* - 24.625 - Rule of 17.718 - original board length 12 12.2850 12.2813 -0.0038 12.2850 0.0000 12.3125 0.0275
13 12.9775 12.9705 -0.0070 12.9745 -0.0030 13.0035 0.0260
0.403* - 24.57 - Rule of 17.718 - original board length
14 13.6315 13.6212 -0.0104 13.6253 -0.0062 13.6558 0.0243
0.408* - 24.5625 - Rule of 17.718 - original board length
15 14.2492 14.2352 -0.0140 14.2396 -0.0096 14.2715 0.0222
0.361* - 24.5625 - Rule of 17.718 - original board length shortened by 3/64ths 16 14.8326 14.8149 -0.0177 14.8194 -0.0132 15.8526 0.0200
Rule of 18 vs. Rule of 17.817 boards: 17 15.3836 15.3620 -0.0216 15.3667 -0.0169 15.4010 0.0175
The Great Gibson Scale Kerfuffle: See David Collins’ posts here. 18 15.9039 15.8783 -0.0256 15.8832 -0.0207 15.9187 0.0148
and again, Gator Payne’s printing tips on page 2 are well advised. 19 16.3954 16.3657 -0.0296 16.3707 -0.0246 16.4074 0.0120
Both the Rule of 18 and the Rule of 17.817 scale perfecty in their divisions. If 20 16.8595 16.8258 -0.0337 16.8309 -0.0286 16.8686 0.0091
the print is slightly off, it should be off by the same percentage across the print. 21 17.2979 17.2600 -0.0379 17.2653 -0.0326 17.3039 0.0061
In other words, if the print is off by a few thousandths, you may end up with a 22 17.7119 17.6699 -0.0420 17.6753 -0.0366 17.7148 0.0030
perfect 24.747” scale... frets in perfect relationship to each other. It’d be fine.
23 18.1029 18.0567 -0.0462 18.0623 -0.0406 18.1027 -0.0002
Marking and cutting by hand - accuracy.
24 18.4722 18.4219 -0.0503 18.4275 -0.0447 18.4688 -0.0034
 13
Scale Comparison 22 x 17”

24.75
rule of page 14
18

24.5625
rule of page 15
17.817

stewmac’s
23rd fret line
and kerf
shown in red

24.57
rule of page 16
17.817

24.625
rule of page 17
17.817

18.078125

24.75 - Rule of 18
18.078125
0.240* 0.217*
0.3125 0.9375 D side dots

0.25 D
plastic
24.75
2.25 rule of 1.703125
1.4375 pearloid
18
24.75 - Rule of 18 14
22 x 5”
18.078125
0.240* 0.217*
0.3125 0.9375 D side dots

0.25 D
plastic
24.75
2.25 rule of 1.703125
1.4375 pearloid
18
24.5625 - Rule of 17.817 15
22 x 5”
18.078125
0.240* 0.217*
0.3125 0.9375 D side dots

0.25 D
plastic
24.5625
2.25 rule of 1.703125
1.4375 pearloid
17.817
24.57 - Rule of 17.817 16
22 x 5”
18.078125
0.240* 0.217*
0.3125 0.9375 D side dots

0.25 D
plastic
24.57
2.25 rule of 1.703125
1.4375 pearloid
17.817
24.625 - Rule of 17.817 17
22 x 5”
18.078125
0.240* 0.217*
0.3125 0.9375 D side dots

0.25 D
plastic
24.625
2.25 rule of 1.703125
1.4375 pearloid
17.817
 18
Neck - quartersawn mahogany “Neck carving is one of those things that 30 x 5”
scares and frustrates a lot of beginners.”
Preeb marking and carving

Neck shaping thread

a couple of vids from prs:

Jack Higgenbotham - 5:15 mark
and Herman Efland
to stress the importance of removing wood in stages
and letting the stresses in the wood relax before going further.
 19
58 -ish Scrolling Neck Comparison 30 x 5”

1.036* 1.010* 0.975* 0.939* 0.918*

ellipse center
even with
glue line
 20
59 -ish Scrolling Neck Comparison 30 x 5”

1.006* 0.980* 0.946* 0.911* 0.890*

ellipse center
1/32nd above
glue line
 21
59 -ish alternative Scrolling Neck Comparison 30 x 5”

1.036* 0.980* 0.906* 0.875 0.890*

ellipse center
1/32nd above
glue line
 22
61 -ish Scrolling Neck Comparison 30 x 5”

0.898* 0.868* 0.829* 0.789* 0.765*

ellipse center
1/8th above
apparently, it was even thinner sometime in 1960 glue line
 23
All Static Neck Comparison 30 x 5”

single cut junior heel for comparison

 24
Customizing the Neck - aka: deviating 30 x 14”

Tapered Thickness Fretboard Board Thickness and Target Profile Headstock thickness and taper
The fret board is tapered to make its side edges an even width from nut to heel. For a target profile, the thicker the rosewood board at any point on the neck , the thinner the The headstock gets a lot of attention in the neck process. The filler strip over the truss rod
mahogany needs to be... and vice versa. needs to be levelled out to it. The glued on wings need to be levelled out to it - both front and
0.240* to 0.240* - 12” Radius - even thickness - tapered sides back. After the neck profile to headstock transition is shaped, the back may need to be sanded
Thicknesses are given to compare the board you’ll be using to the default board. flat again for the long tuner plates.
0.187* 0.210* Simple math, a straight edge and a pencil allow you to adjust the profile of the mahogany for a In short, they varied. Some reportedly had the back parallel to the front, but most tapered to
2.25 1.703125 given target profile. Red tick marks on the profiles define them. different thicknesses at the tip. One 59 was 0.583 at the tip; one 61 was 0.539.
example: you want to use an even board that’s 0.240 thick. At the 1st fret, 0.240 minus 0.219 = 2 things to keep in mind... the thicker the headstock, the less of the 63/64ths of post will stick
0.240* to 0.217* - 12” Radius - tapered thickness - even sides 0.021 less mahogany thickness. Measure and mark at the 1st fret and do the same at the 17th, above the face. Secondly, the more angled (tapered) the back is in relation to the face, the
draw a line between your marks and blend the transitions. more the posts will angle through their holes to center in the bushings. Float the plates for best
0.187* 0.187* fit through the bushings before drilling for the mounting screws. If you want the posts going
2.25 1.703125 through a tight quarter inch hole for support, you’ll want the back parallel to the face unless you
can drill perpendicular to an angled back... you’ll also need to counter the face for the bushings.

0.240* 0.237* 0.233* 0.228* 0.222* 0.219* 0.217* Holes sized for bushings.
(zoom way in to see post angle)

2.5° neck angle profile straight between red marks 0.364* above face
2.427° cut angle 9R
3R 0.372*
0.380*
0.626*
0.620*
0.612*
Tapered Thickness Fretboard Angle Binding
0.604*
It’s a non-issue, but let’s address it anyway as a segue to neck angle on the next page. Can’t resist getting fancy? Just gotta have those nibs? Can’t be talked out of it? 1.75
A fretboard that tapers from 0.240 to 0.217 over the 18.078125” of board length creates an angle As stated, the board is tapered to give an even 3/16ths edge. That may be bit too much for the 0.59375
proper bound aesthetic... especially with white binding. Maybe it’s just me, but wide neck binding 0.374* above face
of 0.073°. The default angle drawn in this pdf is effectively 2.5°... made up of the 0.073° fretboard
and a 2.427° angle cut on the tenon. reminds me of countless cheap copies I’ve seen over the years. 0.399*
Effective neck angle vs. cut angle... In this case, they’re essentially the same. At a 2.5° cut On a previous page, the center of the ellipse was 1/32nd above the glue line on the 59-ish profile. 0.423*
The bottom corners of the fretboard may get rounded ever so slightly. 0.626*
angle, the effective angle of a neck with a 0.217 to 0.240 tapered board is only 0.0083” higher
0.610*
at the bridge than one with an even 0.240 board. On closely inspected (bound) Les Pauls of that era, the fretboard
is said to taper from 0.215 to 0.190. Cad perfect for a truly even 0.586*
Tapering the fret board edge would be 0.215 to 0.1924 and would result with an edge a
0.561*
The amount of taper needed to get the sides even is a function of the board radius and the width little over 5/32nds wide. 1.75
at both ends. In this case, it’s 0.023... the width of a fret slot. So... a bound LP board is about a 32nd thinner than a Jr board.
0.530*
The simplest way to taper it would be sanding with the radius block... or sanding with the paper It’s probably just coincidence.
stuck to a flat surface and sanding the back of the board. It’s good exercise. A 0.215 to 0.190 tapered board should be close to 0.192 thick at
There is no veneer on the face of a junior headstock. It’s painted and silk screened. The nut
the 1st fret, 0.207 at the 12th, and 0.211 at the 17th. You could
Preeb warns of heat from a belt sander potentially warping the board slot mimicks what a veneer would have created. If you want to add a veener for an inlay, keep
adjust the profile... and the board dimensions (sides and end) for
an eye on the final thickness in relation to the amount of tuning posts above the face. You’ll
JohnP-90 shimming the board to use his safety planer the 0.040 thick binding (before scraping) yourself...
want about 0.375 or more protruding.
you fretboard dandy, you.
Nuance97 cleverly doing two things at once
 25
Neck Angle 101 26 x 14”

As we know, the idea of a neck angle is to raise the height of a line (straight edge) 6.625 4.875 Neck Angle - Alternative Approaches
riding the top of the frets down the center of the neck such that the line is placed
at a good height for the bridge you plan to use. <<-- please read that again col. 2 don’t confuse top of cover with top of pole Cutting the angle into the tenon is how it was done... and seems the easiest, but
you may have your own reasons for taking a different approach. You can cut the
The default angle drawn in this pdf is meant for a vintage style stop tail bridge that’s col. 4 tenon an even 1.375” thick and route the angle into the bottom of the pocket...
just under 1/2” high... by one or two 64ths, depending on which stop tail it is.
or you can also route the pocket flat and fashion an angled shim to glue in (preferably
Use any bridge you like, but do yourself a favor and be sure of its height before col. 1 before final fitting of the neck).
you cut and glue in a neck angle. If it’s significantly taller, run through the math (in or
the spreadsheet or table below) for a target angle and adjust the tenon profile. In either case, having the tenon exactly 1.375 thick and the pocket exactly 1.375
col. 3 deep at the edge of the body will cause the bottom end corner of the fretboard to
1.375
Neck Angle Tab - Spreadsheet sit a little high because of the angle - see column Z in the table below.
A target angle is just that... a target. Even if you have an elaborate shop set-up
and mad skills, chances are that you’ll dry fit the neck and adjust until you’ve got
it right before gluing it in. Evenso, calculating a ridiculously precise cut angle can
help you narrow in on that target and minimize the fitting needed.
But wait, there’s more... the angle could actually be set slightly lower with a stop
tail bridge if not for the dogear p’up cover. The final set-up is a balance of neck rotation point rotation point
relief, string height from the bridge and nut slots... plus the added complication of
string height above a fixed pickup.
Gibson Tone Tip - pickup height 2.8125
1.375
2.8125 2.8125 1.375 2.8125
Column 2 in the table below is a measure of the top of the “genuine” pickup cover X 1.375
(see pg. 9 on aftermarket covers) to the tapered fretboard angle line (col. 1). 1.375 Z
Col. 2 exists mainly as a reference to compare the default angle to other angles.
C tangent sand to final thickness join line /
Gibson appears to have known what they were doing as the default angle allows 2.8125 point Y while neck fitting tangent
you to get the gap to 1/16th without the poles looking like antennas sticking out of A B point
a cartoon alien’s head. With the poles down, it allows for what should be plenty
of “air” in the gap without having too high of action. (magnet strengh varies)

Table for quick reference and comparison: 1 2 3 4 Cut Cut

tapered pickup even angle Angle A B C Angle X Y Z
Column 1: height of angle at bridge with a 0.240 to 0.217 board and 0.047 frets Y an angled shim
0.5268 0.0260 0.5185 0.2314 2.0º 1.4741 1.3758 0.0497 2.0º 1.2768 0.0982 1.3742
0.5384 0.0346 0.5301 0.2429 2.1º 1.4791 1.3759 0.0523 2.1º 1.2719 0.1031 1.3741
Column 2: height of angle over center of pickup cover (top, not poles) 0.5500 0.0431 0.5417 0.2545 2.2º 1.4841 1.3760 0.0549 2.2º 1.2670 0.1080 1.3740
2.8125
0.5616 0.0516 0.5533 0.2661 2.3º 1.4891 1.3761 0.0575 2.3º 1.2620 0.1130 1.3739
Column 3: height of angle at bridge with even 0.240 to 0.240 board and 0.047 0.5764 0.0625 0.5681 0.2808 2.427º 1.4954 1.3762 0.0608 2.427º 1.2558 0.1192 1.3738
0.5848 0.0687 0.5765 0.2893 2.5º 1.4991 1.3763 0.0627 2.5º 1.2522 0.1228 1.3737
Column 4: height of the angle alone... without board or frets 0.5965 0.0773 0.5881 0.3008 2.6º 1.5041 1.3764 0.0653 2.6º 1.2473 0.1277 1.3736
0.6081 0.0858 0.5997 0.3124 2.7º 1.5092 1.3765 0.0680 2.7º 1.2424 0.1326 1.3735
A, B & C: see diagram to right 0.6197 0.0944 0.6114 0.3240 2.8º 1.5142 1.3766 0.0706 2.8º 1.2374 0.1376 1.3733
0.6313 0.1029 0.6230 0.3356 2.9º 1.5192 1.3768 0.0733 2.9º 1.2325 0.1425 1.3732
Column 4 use: If you add the height of the board you’re using (at body end) with 0.6429 0.1115 0.6346 0.3472 3.0º 1.5243 1.3769 0.0759 3.0º 1.2276 0.1474 1.3731
the height of the frets you’re using, you can add the entries in col. 4 to get the 0.6545 0.1201 0.6462 0.3588 3.1º 1.5293 1.3770 0.0786 3.1º 1.2227 0.1523 1.3730
height at the bridge within a thousandth of an inch. (+ 0.0085 for a tapered board) 0.6662 0.1286 0.6578 0.3704 3.2º 1.5344 1.3771 0.0813 3.2º 1.2178 0.1572 1.3728
Likewise, you can choose a height for the bridge, subtract the combined board 0.6778 0.1372 0.6695 0.3820 3.3º 1.5395 1.3773 0.0840 3.3º 1.2128 0.1622 1.3727
and fret height and look down col. 4 to find a suitable angle. Simple, eh? 0.6894 0.1458 0.6811 0.3936 3.4º 1.5445 1.3774 0.0866 sand heel 3.4º 1.2079 0.1671 1.3726
0.7011 0.1543 0.6927 0.4052 3.5º 1.5496 1.3776 0.0894 parallel to back 3.5º 1.2030 0.1720 1.3724
 26
Truss / Compression Rod - reference page 30 x 14”

Revised... Single Rod... Pre-tensioning the neck - Watch and Read The Channel It’s good to be aware of this page...
Previously, the truss rod channel was drawn 9/16ths The advantage of a single rod is that less is more... The disadvantage of a one way rod is that it only adjusts A table saw or router table would make quick work of ... to know the evils of overtightening the nut / rod.
below the nut and tapered to 5/8ths at the butt end of it’s simple, compact, light and effective. one way... Unless you pre-tension the neck to give it it when you shim the nut end up like JohnP-90 did: ... to know how to correct a stubborn neck that might
the neck... despite it commonly being reported as 1/2 a range of two way action. JohnP-90 shimming the board lead some to overtightening (scroll down to clamping
2-way rods are heavier / bulkier and may be prone to
at the nut and 5/8ths at the butt. the neck).
rattling of parts if not tensioned one way or the other.
Its now drawn as reported - 0.50 at nut - 0.0625 at butt Wood compression - if you read build threads, you may
notice some of the guys letting thin superglue soak into
the end grain of the TR access to reinforce the wood.
Same for the anchor end. It can’t hurt.
0.375 D 0.625 0.50

0.50 1.00 see washers below 0.3125 0.3125

Anchor center drilled and tapped #10-32 3/16ths D rod threaded #10 -32 Washer Brass Nut Flat sawn Maple filler strip
An x-ray of a 59 had its anchor about a half inch long. cut to length - somewhere between 18 and 18.5 inches thickness - how far in you need to drill the access taper - how far in you need to drill the access not too tight - not too loose... snug.
philadelphia luthier tools.com 1/2” anchor-brass stewmac 10 -32 thread cutting die philadelphia luthier tools.com half moon TR washer philadelphia luthier tools.com brass truss rod nut no glue making its way to the rod.
philadelphia luthier tools.com 5/8ths anchor-steel or hardware store near you stewmac - half moon TR washer available separately stewmac - discontinued brass nut
stewmac 5/8ths steel anchor stewmac - new brass nuts - long taper not as long

0.625 0.78125 0.25 #3 round head screws

for truss rod cover and
3.8125 0.162* 0.50 dog ear pickup cover
0.177*

Verion 1 had it something like this: philadelphia luthier tools.com half moon TR washer stewmac - half moon TR washer available separately mcmaster.com
#10
The access had to be drilled at a 3º angle down (in ref 0.720* 0.100* 0.5625 0.100* or hardware store near you 0.50 D
to the face) and then squared up to the channel to
match the dimensions with which I was working. 0.50 o.d. - 0.203125 i.d.
0.430* 0.34375 0.08 to 0.011 thick

the thickness of the washer and the taper of the nut

will determine how far you have to drill in. For the
0.375 0.375 0.375 0.375 minimum, drill and test fit - rinse and repeat until the
cover clears the nut.

0.625 0.50 2.202* 0.50 2.202* 0.50 2.202*

0.5625 0.50 0.50 0.50

 27
Nut Access - Fun with spotfacers / counterbores: 26 x 14”

A Counterbore thread with Video clearance determines entry point

How convenient is a counterbore with a 3/16ths D pilot for centering an access to 0.0625 clearance
a 3/16ths wide truss rod channel? 0.03125 clearance
I suppose one could also use excess 3/16ths rod to line up a forstner bit to a neck 0.00 clearance
clamped to a tilted drill press table... if the drill press had enough height.
Most of the suitable sizes of counterbores use a 3/16ths D pilot. The smaller use
an 8th inch pilot, but are included for comparison (and the drill press idea).
As mentioned, the width of the channel is perfect for the pilot, but you don’t need
to let the pilot ride the bottom of the channel and cut deeper than you need. The
less wood you remove, the stronger the neck will be. Placing a shim in the bottom
of the channel lets you control the depth of the cut. The trade-off is that the smaller
the diameter of access, the less end grain the washer has to spread the pressure. 3/4, 21/32 & 1/2
0.4375 D excess depth amount of shim for Washers shown
Obviously, the function of the nut access is to allow us to get a nut driver in to make thin wall without shim 1/32nd clearance
adjustments, so lets start with the size of a nut driver. The diameter of a thin wall nut driver in channel around nut driver
nut driver is used here... but if you have a favorite that may be larger (or want more 1/2 D stewmac philadelphia
clearance) you can use the following as examples and adjust accordingly.
the dredded math example:
half of a 3/4 D counterbore is 0.375 Subtract half of the pilot diameter (0.09375) 0.00 clearance
and we see that the piloted bit cuts 0.28125 below the bottom of the channel. 3/4 D
3/16 P 0.125
What we’re after is for it to cut half of the diameter of our nut driver (minus half of 0.15625
the pilot radius), plus a 32nd of clearence for that nut driver, below the channel.
nut driver diameter 0.4375 / 2 = 0.21875. 0.21875 minus 0.09375 = 0.125. 21/32 D 0.50
3/16 P 0.109375
0.125 + 0.03125 clearance = 0.15625 0.140625
Finally, what it would normally cut minus what we want it to cut gives us the amount
of shim needed: 0.28125 - 0.15625 = 0.125 11/16 D
3/16 P 0.09375 0.03125 clearance
a bit confusing with 0.28125 and 0.21875 in the mix... along with the coincidental 0.125
reappearance of 0.125, but there it is.
21/32 D
3/16 P 0.078125
Less convenient 1/8th D pilot... or drill press idea (again... the end grain trade-off) 0.109375
0.50
5/8 D
1/8 P 0.09375
all
sides 0.125
shimmed
shimmed 0.0625 clearance
9/16 D
1/8 P 0.0625
0.09375 all
sides
shimmed
shimmed
1/2 D 0.50
1/8 P 0.03125
0.0625 all
To the Extreme: 1/2” D - just large enough for a thin walled nut driver sides
shimmed
shimmed
 28
Half-Baked page on Bracing the long, thin (er... “medium”) Neck http://www.thegearpage.net/board/showthread.php?t=400718&highlight=jigs&page=5 30 x 14”

A curved truss rod was used when necks got thinner in 60. The straight The width of the channel was 3/16ths and the maple filler strip stopped The doubt creeps in about where the lowest point of the curve should The truss rod cover was almost (if not completely) pushed up to the nut
compression rod works fine when it’s in a thick neck, under the centerline, about an inch and 1/8th from the end of the board instead of continuing be when recalling the comparison to a Single Cut on page 23. I might leaving the first screw about 3/16ths from the nut instead of the 3/8ths
and parallel to the back of the neck. The thinner neck needs a different to the end of the tenon. Some is known about the headstock end, but have been willing to bet it’s around the 7th fret... but that may well have for the more robust necks.
sort of help as it might buckle from the tension of a straight compression everything in between is a mystery. Below is as far as I got in drawing been misleading... potentially a waste of someone’s time and money.
The washer edge of the truss rod access was 5/16ths from the nut.
rod. See link (upper right hand corner) for words and pics of cool stuff. up a curved rod for the thinner neck before dumping it... not very far. It may be that it’s not all that critical... but honestly, I just wouldn’t know.

That said, I may get back to it... with a disclamer in Large Type.

http://www.mylespaul.com/forums/luthiers-corner/317493-how-does-truss-rod-work.html

An example of other types below... You’ll have to measure the specific rod you’ll be using and plan the channel and access yourself.

reverse thread 9/64ths Hex

17.00 1.00
center

sometimes, it’s the littlest things... like a tiny #3 truss rod cover screw
with only a quarter inch of thread.
Filler strip needed under nut
and into face of headstock
0.173*

http://www.alliedlutherie.com/truss_rods.htm http://www.lmii.com/truss-rod-installation
Allied’s instructions include clamping the filler strip down in the center http://www.lmii.com/products/mostly-not-wood/truss-rods/neck-parts/truss-rod-standard-welded-end
(pressing the brace to the rod ) to prevent the 2 pieces from rattling.
http://www.lmii.com/products/mostly-not-wood/truss-rods/neck-parts/truss-rod-double-action-welded-nut
2 screws on the truss rod cover,
or 4 screws on a pickguard...

no problems here... place the truss rod cover (that covers nothing)
with the first screw 3/16ths from the nut like a 61,
or 3/8ths like the thicker profile necks.
... or go without
center 0.173*
58-ish 0.240* 0.237* 0.233* 0.228* 0.222* 0.219* 0.217* 1/32nd deep nut slot to clean up the edge of the headstock
29
30 x 12”

6.8125
58-ish 0.799* 0.777* 0.747* 0.717* 0.699*

2.8125
1.375
1.375 9R 17°
1.495* 3R
1.036* 1.010* 0.975* 0.939* 0.918*

vertical dashed = 1.3762* tangent

point
2.560*
default 2.427° cut angle 0.207* 0.190*
see page 25
0.59375
back of headstock Headstock template
18 R

0.25 Back Cut

the profile above is
2.8125 drawn to this shape 1.375
0.875
of exposed heel. 0.75 2.75 2.670* 2.4375
1.75 1.75
dashed line 90° Adjust if necessary. 0.625
to neck angle line to avoid gaps, shy away 1.270* 3.3125 5.0625 6.8125
0.75 0.8125
from the join line until 0.875
after the neck is set
0.125 1.717* 3.005*

if ever there was a time for using calipers to scribe and 6.498*
tap to indent for a brad point bit... this would be it.
24.75 Rule of 18 shown 0.1875
also use for 24.625 Rule of 17.817 0.50
1.703125

2.335* 0.3125 R 2.25 view distorted by headstock angle

24.75 2.15625
rule of 18 cut
21.078125 27.593* 2.1875
then
the 2.25 R transition is routed as a planed
2.8125 18.078125
continuation of the sides of the neck smooth

0.366*
59-ish 0.240* 0.237* 0.233* 0.228* 0.222* 0.219* 0.217* 1/32nd deep nut slot to clean up the edge of the headstock
30
30 x 12”

6.8125
59-ish 0.769* 0.747* 0.718* 0.689* 0.671*

2.8125
1.375
1.375 9R 17°
1.495* 3R 1.006* 0.980* 0.946* 0.911* 0.890*

vertical dashed = 1.3762* tangent

point
2.560*
default 2.427° cut angle 0.177* 0.162*
see page 25
0.59375
back of headstock Headstock template
18 R

0.25 Back Cut

the profile above is
2.8125 drawn to this shape 1.375
0.875
of exposed heel. 0.75 2.75 2.670* 2.4375
1.75 1.75
dashed line 90° Adjust if necessary. 0.625
to neck angle line to avoid gaps, shy away 1.270* 3.3125 5.0625 6.8125
0.75 0.8125
from the join line until 0.875
after the neck is set
0.125 1.717* 3.005*

if ever there was a time for using calipers to scribe and 6.498*
tap to indent for a brad point bit... this would be it.
24.75 Rule of 18 shown 0.1875
also use for 24.625 Rule of 17.817 0.50
1.703125

2.335* 0.3125 R 2.25 view distorted by headstock angle

24.75 2.15625
rule of 18 cut
21.078125 27.593* 2.1875
then
the 2.25 R transition is routed as a planed
2.8125 18.078125
continuation of the sides of the neck smooth

0.366*
59 -ish (mod) 0.240* 0.237* 0.233* 0.228* 0.223* 0.219* 0.217* 1/32nd deep nut slot to clean up the edge of the headstock
31
30 x 12”

6.8125
59 -ish (mod) 0.799* 0.747* 0.678* 0.652* 0.671*

2.8125
1.375 255 R
1.375 9R 17°
1.495* 3R 1.036* 0.980* 0.906* 0.875 0.890*

vertical dashed = 1.3762* tangent

point
2.560*
default 2.427° cut angle 0.207* 0.162*
see page 25
0.59375
back of headstock Headstock template
18 R

0.25 Back Cut

the profile above is
2.8125 drawn to this shape 1.375
0.875
of exposed heel. 0.75 2.75 2.670* 2.4375
1.75 1.75
dashed line 90° Adjust if necessary. 0.625
to neck angle line to avoid gaps, shy away 1.270* 3.3125 5.0625 6.8125
0.75 0.8125
from the join line until 0.875
after the neck is set
0.125 1.717* 3.005*

if ever there was a time for using calipers to scribe and 6.498*
tap to indent for a brad point bit... this would be it.
24.75 Rule of 18 shown 0.1875
also use for 24.625 Rule of 17.817 0.50
1.703125

2.335* 0.3125 R 2.25 view distorted by headstock angle

24.75 2.15625
rule of 18 cut
21.078125 27.593* 2.1875
then
the 2.25 R transition is routed as a planed
2.8125 18.078125
continuation of the sides of the neck smooth

0.366*
61-ish 0.240* 0.237* 0.233* 0.228* 0.222* 0.219* 0.217* 1/32nd deep nut slot to clean up the edge of the headstock
32
30 x 12”

6.8125
61-ish 0.661* 0.635* 0.601* 0.567* 0.546*

2.8125
1.375
1.375 9R 17°
1.495* 3R 0.898* 0.868* 0.829* 0.789* 0.765*

vertical dashed = 1.3762* tangent

point
2.560*
default 2.427° cut angle
see page 25
0.59375
back of headstock Headstock template
18 R

0.25 Back Cut

the profile above is
2.8125 drawn to this shape 1.375
0.875
of exposed heel. 0.75 2.75 2.670* 2.4375
1.75 1.75
dashed line 90° Adjust if necessary. 0.625
to neck angle line to avoid gaps, shy away 1.270* 3.3125 5.0625 6.8125
0.75 0.8125
from the join line until 0.875
after the neck is set
0.125 1.717* 3.005*

if ever there was a time for using calipers to scribe and 6.498*
tap to indent for a brad point bit... this would be it.
24.75 Rule of 18 shown 0.1875
also use for 24.625 Rule of 17.817 0.50
1.703125

2.335* 0.3125 R 2.25 view distorted by headstock angle

24.75 2.15625
rule of 18 cut
21.078125 27.593* 2.1875
then
the 2.25 R transition is routed as a planed
2.8125 18.078125
continuation of the sides of the neck smooth

0.366*
58 -ish 0.240* 0.237* 0.233* 0.227* 0.222* 0.219* 0.217* 1/32nd deep nut slot to clean up the edge of the headstock
33
30 x 12”
Stewmac board
6.8125
58 -ish 24.5625 0.799* 0.777* 0.748* 0.717* 0.699*

2.8125
1.375
1.375 9R 17°
1.495* 3R 1.036* 1.010* 0.975* 0.939* 0.918*

vertical dashed = 1.3762* tangent

point
2.560*
default 2.427° cut angle 0.207* 0.190*
see page 25
0.59375
back of headstock Headstock template
18 R

0.25 Back Cut

the profile above is
2.8125 drawn to this shape 1.375
0.875
of exposed heel. 0.75 2.75 2.670* 2.4375
1.75 1.75
dashed line 90° Adjust if necessary. 0.625
to neck angle line to avoid gaps, shy away 1.270* 3.3125 5.0625 6.8125
0.75 0.8125
from the join line until 0.875
after the neck is set
0.125 1.717* 3.005*

if ever there was a time for using calipers to scribe and 6.498*
tap to indent for a brad point bit... this would be it.
Adjusted for Stewmac’s pre-slotted 23rd fret 0.1875
also leaves a better 22nd fret to end of board gap for self-slotted 24.5625 scale 0.50
1.703125

2.335* 0.3125 R 2.25 view distorted by headstock angle

24.5625 2.15625
rule of 17.817 cut
21.03125 27.546* 2.1875
then
the 2.25 R transition is routed as a planed
2.8125 18.03125
continuation of the sides of the neck smooth

0.361*
59 -ish 0.240* 0.237* 0.233* 0.227* 0.222* 0.219* 0.217* 1/32nd deep nut slot to clean up the edge of the headstock
34
30 x 12”
Stewmac board
6.8125
59 -ish 24.5625 0.769* 0.747* 0.718* 0.689* 0.671*

2.8125
1.375
1.375 9R 17°
1.495* 3R 1.005* 0.980* 0.946* 0.911* 0.890*

vertical dashed = 1.3762* tangent

point
2.560*
default 2.427° cut angle 0.177* 0.162*
see page 25
0.59375
back of headstock Headstock template
18 R

0.25 Back Cut

the profile above is
2.8125 drawn to this shape 1.375
0.875
of exposed heel. 0.75 2.75 2.670* 2.4375
1.75 1.75
dashed line 90° Adjust if necessary. 0.625
to neck angle line to avoid gaps, shy away 1.270* 3.3125 5.0625 6.8125
0.75 0.8125
from the join line until 0.875
after the neck is set
0.125 1.717* 3.005*

if ever there was a time for using calipers to scribe and 6.498*
tap to indent for a brad point bit... this would be it.
Adjusted for Stewmac’s pre-slotted 23rd fret 0.1875
also leaves a better 22nd fret to end of board gap for self-slotted 24.5625 scale 0.50
1.703125

2.335* 0.3125 R 2.25 view distorted by headstock angle

24.5625 2.15625
rule of 17.817 cut
21.03125 27.546* 2.1875
then
the 2.25 R transition is routed as a planed
2.8125 18.03125
continuation of the sides of the neck smooth

0.361*
59 -ish (mod) 0.240* 0.237* 0.233* 0.227* 0.223* 0.219* 0.217* 1/32nd deep nut slot to clean up the edge of the headstock
35
30 x 12”
Stewmac board
6.8125
59 mod 24.5625 0.798* 0.747* 0.679* 0.652* 0.671*

2.8125
1.375 255 R
1.375 9R 17°
1.495* 3R 1.035* 0.980* 0.906* 0.875* 0.890*

vertical dashed = 1.3762* tangent

point
2.560*
default 2.427° cut angle 0.206* 0.162*
see page 25
0.59375
back of headstock Headstock template
18 R

0.25 Back Cut

the profile above is
2.8125 drawn to this shape 1.375
0.875
of exposed heel. 0.75 2.75 2.670* 2.4375
1.75 1.75
dashed line 90° Adjust if necessary. 0.625
to neck angle line to avoid gaps, shy away 1.270* 3.3125 5.0625 6.8125
0.75 0.8125
from the join line until 0.875
after the neck is set
0.125 1.717* 3.005*

if ever there was a time for using calipers to scribe and 6.498*
tap to indent for a brad point bit... this would be it.
Adjusted for Stewmac’s pre-slotted 23rd fret 0.1875
also leaves a better 22nd fret to end of board gap for self-slotted 24.5625 scale 0.50
1.703125

2.335* 0.3125 R 2.25 view distorted by headstock angle

24.5625 2.15625
rule of 17.817 cut
21.03125 27.546* 2.1875
then
the 2.25 R transition is routed as a planed
2.8125 18.03125
continuation of the sides of the neck smooth

0.361*
61 -ish 0.240* 0.237* 0.233* 0.227* 0.222* 0.219* 0.217* 1/32nd deep nut slot to clean up the edge of the headstock
36
30 x 12”
Stewmac board
6.8125
61 -ish 24.5625 0.660* 0.635* 0.602* 0.567* 0.548*

2.8125
1.375
1.375 9R 17°
1.495* 3R 0.897* 0.868* 0.829* 0.789* 0.767*

vertical dashed = 1.3762* tangent

point
2.560*
default 2.427° cut angle
see page 25
0.59375
back of headstock Headstock template
18 R

0.25 Back Cut

the profile above is
2.8125 drawn to this shape 1.375
0.875
of exposed heel. 0.75 2.75 2.670* 2.4375
1.75 1.75
dashed line 90° Adjust if necessary. 0.625
to neck angle line to avoid gaps, shy away 1.270* 3.3125 5.0625 6.8125
0.75 0.8125
from the join line until 0.875
after the neck is set
0.125 1.717* 3.005*

if ever there was a time for using calipers to scribe and 6.498*
tap to indent for a brad point bit... this would be it.
Adjusted for Stewmac’s pre-slotted 23rd fret 0.1875
also leaves a better 22nd fret to end of board gap for self-slotted 24.5625 scale 0.50
1.703125

2.335* 0.3125 R 2.25 view distorted by headstock angle

24.5625 2.15625
rule of 17.817 cut
21.03125 27.546* 2.1875
then
the 2.25 R transition is routed as a planed
2.8125 18.03125
continuation of the sides of the neck smooth

0.361*
 B1
Bridges Placement Methods - Measurements and expected results 22 x 14”

Uncompensated Stoptail Compensated Stoptail Tune-o-matic style bridges “Combo” Bridges

50s Vintage Modern Angle 50s Vintage Angle an Angle to Suit Lightning Bar Adjustable
Just your standard stop tail bridge... that can be Development to production... a good read. Different tune-o-matic style bridges can have If you go this route, use the link below - fill in the
mounted at either a vintage or modern angle... different ranges of saddle adjustment. i.e. a nashville scale, etc... and scroll to the bottom of the page for
more on that later. ...or straight to the point... bridge will have a greater range of adjustement their recomendations.
Clearly, it’s designed as a drop-in replacement for both forward and back than an abr-1.
Pigtail became a overwhelming favorite when they i.e. - 24.625 scale - 22 fret - electric guitar
added some definition to the top ridge to eliminate a vintage bridge mounted at a vintage angle, but The best angle will depend on the setup... how
the dreaded sitar buzzing some of the lesser bridges there’s no reason one couldn’t use it on a new much length needs to be added to the individual “Combo Bridge/Tailpieces
have. They’re cast aluminum instead of cheaper build... at a vintage angle. strings for proper intonation and the adjustment
24.685" (± 0.030") from nut to center of treble-side
zinc... ground and polished by hand and have that There are other companies that do something range of the bridge being used.
post. Mount bass-side post 1/16"-1/8" further from
vintage look to them. In other words, they have similar (not so elegantly, imo), but you have to be the nut.”
more going for them than just the defined ridge. careful in reading the description to see if they Bridge placement thread / pdf with more on t-o-m
compensate for a vintage angle or a lesser one style bridges. We’re left to assume it should be centered?
There are others, of course... choose wisely.
(if they bother making that distinction at all in their
description).
http://www.pigtailmusic.com/Products.php http://www.mojoaxe.com http://youtu.be/CUpLDgygD2g Stewmac Fret Calculator
 B2
Danelectro measured a 22 x 14”
55 Single Cut Junior

12.516*

Vintage 50s placement

1.715*
Angle = 7.49°

Post Spacing = 3.25

Post D = 0.260
Post R = 0.130

Alignment Compensation:
0.102 shift toward bass on bridge line

1.508*

12.092*
 B3
http://www.lespaulforum.com/forum/showthread.php?t=164035 22 x 14”

The Vintage Stop Tail Puzzle Gibson claims they use a 24.75” scale. Lost in Translation? Spreadsheet - Bridge Tab
As a puzzle, it’s a good one to get you thinking in But Dan measured the 12th fret of the 55 SC Junior So... if, in fact, they meant 24.75 as the distance
terms you may not be accustomed. as 12.312 from the inside of the nut (which I don’t between the nut and the center of the bridge, then So... we have a set bridge position with different
doubt for a second), giving it a relative scale length the base and relative scales could have been fret scales calculated by different methods...
The jig (linked above) positions the bushings / studs of 24.624... not the 24.57 we would expect of a whatever. It may be possible that they experimented
in relation to / referencing the inside of the nut. a dozen or so bridge angles to evaluate for a few
24.75 Base scale calculated by the Rule of 18. with a base scale of 24.8125 and used the Rule of
For convenience, Dan gave the measurements 18 to position the frets ...and that the 24.312 relative different types of bridges...
Precise fret measurements of later guitars (58 - 60
referencing the center of the 12th fret ...that he scale that Dan measured reflects that. Only accurate A spreadsheet was inevitable.
LP bursts and juniors) do conform to a Base scale
measured as 12.312 from the inside of the nut. measurements of all frets would support that theory.
of 24.75 - Rule of 18 - Relative scale of 24.57. It’s a simple worksheet, but dense with numbers.
Because the modern Rule of 17.817 method of fret (see far right of scale tab of spread sheet linked) For the purpose here, it just doesn’t matter. We
calculation places the 12th fret at exactly half the could use the Vintage bridge position / bridge angle It does a few things... first it adjusts the length of
So what’s going on? the string path for the neck angle + sting angle...
scale length, most people will mistakenly assume with a base scale of 24.8125 or 24.75 with fret
that the fret scale of this 55 Junior was calculated David Collins has spent a good deal of time positions calculated by the rule of 18... or similar which is not that big of a deal as the the added
as 24.625 ...twice the nut to 12th fret distance. researching the Base and Relative scales and relative scales of 24.625 or 24.5625 calculated by length is only 0.0086 at a 4º neck angle.
shares what he’s found in his posts in this thread. the more modern Rule of 17.817. Second, it subtracts the relative scale from the
At this point, an important distinction needs to be
made between Base Scale and Relative Scale. If we glean anything from Mr Collins, it’s that they We could use that positioning as is... or adjust the string length to give an idea of the angle’s effect
used the rule of 18 to calculate fret positions... position a 16th one way or the other to perhaps on string length. If you have a set expectation of
Base Scale is used to calculate fret positions. better suit a particular relative scale when intonation how the strings will need to be comensated, it can
and that the 12th fret positions (and therefore relative
Relative Scale is a direct result of the method used scale) varied. is considered. hint at how evenly each side will need to be adjusted.
to calculate the fret positions. It’s twice the distance Dan did mention that on the historic reissues, the The main thing it does is allow you to define a range
As a side note: if you use 24 -13/16ths (24.8125)
of the distance between the inside of the nut and treble side did not need to be adjusted out as far of compensation (which you predict) that needs to
as the Base scale for fret calculation with the Rule
the center of the 12th fret. as it did on the 50s vintage guitars. He quantified be added to the string length for proper intonation
of 18, the 12th fret is 12.316 from the nut... which
As mentioned above, the modern Rule of 17.817 makes it just as easy to assume the measurement that by saying by about a 16th. It could be that and compares that compensated length to where
method of calculating fret positions places the 12th of 12.312 indicates a 24.8125 Rule of 18 scale as they moved the bridge so it didn’t have to be the strings cross bridge line.
fret at exactly half of the Base Scale, so the Base it is to assume it’s 24.625 Rule of 17.817 scale. adjusted out so far with modern strings ... or it could Example: let’s say you’re predicticting 3/64ths
and Relative scales are identical. be that they’ve settled on the 24.57 relative scale (0.46875) will need to be added to the length of the
The only constant seems to be the position of the that results from a 24.75 base scale calculated by
When calculating fret positions by the older Rule bridge... which, on good authority (Dan), did not high E string. You can edit the range (in green
the rule of 18... a relative scale that’s about a type) by setting the min. to 1/32nd and the max to
of 18 method, the position of the 12th fret is not change from the time it was introduced until the 1/16th shorter than the 24.624 relative scale.
exaclty half of the Base Scale. It will have a Relative early 60s when it was replaced. 1/16th (0.03125 & 0.0625).
Scale slightly shorter than its Base Scale. Bottom line: If you like the looks of the vintage The numbers returned in the rows below show the
That could well be how Gibson defined their scale angle and / or want to use a vintage looking solid
Using a 24.75 Base Scale to calculate fret positions length... by the distance between nut and the center direction and amount of adjustment that would be
aluminum bridge that compenstates that angle for needed with that bridge line. The limits of adjustment
by the older Rule of 18 method, we find that the of the bridge. perfect intonation, its position can be easily marked
12th fret is positioned 12.285” from the inside of your bridge allows will need to be taken into
(have a quick look at the next 2 pages) ...thanks to Dan’s measurements. consideration.
the nut... a Relative Scale of 24.57”.
 B4
Vintage Stop Tail 22 x 14”

Old School Vintage Post Positions:

You may ask yourself...
Well, how did they get there?

24.75 from inside of nut

Post Angle
Spacing Compensation
7/32

1.625 1.75
extend sides of the
0.125 neck to find centerline
3.25

1.625 1.50

7/32
 B5
Vintage Stop Tail 22 x 14”

Old School

12.516*

12.522*
0.006* referencing the 12th fret measured as
12.3125 from the nut for comparison
Same as it ever was...
The center of the bridge remains
24.75” from the inside of the nut
Angle = 7.67°
1.715* 1.721*
Post Spacing = 3.25
Post D = 0.260
Post R = 0.130

Compensation:
0.109 shift toward bass
along bridge line 1.508* 1.50

bass post spaced from

fixed treble mark. 3.25

0.003*

12.089
12.092*

in summation, that was some

meticulous measuring by Danelectro...
not to mention his generosity in sharing
also, a thank you to David Collins
for sharing his research
in the forums.
 B6
Vintage Stop Tail See Speadsheet - Bridge tab 22 x 14”

Old School Angle = 7.67°

Post spacing = 3.25
Post D = 0.260 Post R = 0.130
Alignment Compensation = 0.109
shift toward bass along bridge line

Bridge position independent of fret scale

Example = 24.625 rule of 17.817
2D (flattened) string path lengths
- nut to bridge line as a reference:
Bass E - 24.870”
Treble E - 24.599”
Difference: 0.271
0.199*

0.190*
Spreadsheet Compensation Predictions:
One of the reasons to use the Vintage angle is if you want
to use a bridge that compensates for this angle... in which
case, any of the 3 relative scales listed will work fine as is.
For a standard uncompensated stop bar, the relative
scale used may prompt you to move the center
of the bridge (24.75” from the nut) 1/16th
closer to the nut.
A relative scale of 24.625 with this bridge position
and angle will require the treble side to be adjusted
out about 1/16th, or more. Depending on the strings
used and your action, the bass side could be fine without adjustment,
or require adjustment in - within the range of adjustment.
If you use a relative scale of 24.57 (24.75 by Rule of 18), or the close
approximation of 24.5625, the treble side will only need slight adjustment
out, but the bass side may not be able to adjust forward enough for
proper intonation - remaining slightly flat. Many people prefer it that way.
 B7
Old School Alternative 1 See Speadsheet - Bridge tab 22 x 14”

5/32B 5/32T Angle = 5.49°

Post spacing = 3.25
Post D = 0.260 Post R = 0.130
Alignment Compensation = 0.109
shift toward bass along bridge line

Bridge position independent of fret scale

Example = 24.625 rule of 17.817
2D (flattened) string path lengths
24.75 from inside of nut - nut to bridge line as a reference:

Post Angle Bass E - 24.839”

Spacing Compensation Treble E - 24.644”
5/32 Difference: 0.195

1.625 1.75
0.125

3.25

1.625 1.50

5/32
Spreadsheet Compensation Predictions:
New strings intonate differently than what was available in
the 1950s... no surprise there. Dan mentioned that the
high (treble) E needed to be adjusted out a 16th more
than what may be considered ideal, so let’s consider
a position with a 16th difference. In keeping with
old school requirement of having the center of
the bridge 24.75” from the nut, the treble and
bass sides need to be positioned the same
amount away from the line... in this case,
5/32nds - a 16th less than the original 7/32nds.
Moving the post back 1/16th makes the treble E string 0.0455” (about 3/64ths)
longer from nut to bridge line. The results for the 24.625 relative scale look
reasonable for both high and low Es. Remember, if you’re using a 24.5625
or 24.57 relative scale, you can get the same results showing for 24.625 by
moving the center of the bridge 0.0625 or 0.055 (respectively) forward.
(toward the nut)
 B8
Stop Tail Basics Drilling Down 22 x 14”

variation example bridge Post Diameter How’s it Hangin’? Hanging from a Thicker Branch

0.680* to 0.700* 0.6875 0.033*

0.078125 0.078125
to 0.26 D - 0.13 R - Vintage
0.09375

0.039*
0.25 to 0.27* 0.265625 3.22* 3.22*
to to
3.23* 3.23*
0.245 D - 0.1225 R - Tonepros Locking

0.020*
0.312
on 3.25”
0.291 D - 0.1455 R - stewmac’s current metric set post spacing
When the bridge is placed with the back of the ears With distance from the nut and/or 12th fret under For posts up to, say 0.275 D, the body is drilled so The 0.291 D post with bridge ears spaced 3.22...
on the bridge line, our example bridge will need to control, let’s go crazy with string alignment. that the inserts (and therefore the posts / studs)
if you zoom in on the treble post, the red is spaced
be adjusted out 7/64ths for the center of the bridge are 3.25” apart center to center eventhough the
How much the bridge shifts down depends on the 3.25 from the bass post.
(the break point) to be on the bridge line. (possibly ears on the bridge are generally slightly less than
diameter of the posts... as illustrated above.
a 64th more - depending on the individual bridge) that... 3.22 to 3.23. the green - spaced 3.24
Except where noted, a vintage 0.260 diameter is
Having perfect intonation with the radiused back If the ears were also 3.25” center to center... the blue - spaced 3.23
used in all example drawings.
of the bridge ears (hooks) flush to the posts is not and If you could drill holes exactly 3.2500” apart...
a very realistic (or even desirable) goal. and If cross grain wood was as dimensionally stable As mentioned previously, one gets the impression
Smaller Radius - allows the bridge to shift more
as metal, then the bridge could very well bind on that the larger diameter posts are meant for bridges
toward treble - potential need to compensate more
It’s better to have the posts set forward of where like the lightning bar or adjustable “combo” bridge
toward bass when marking bridge post locations. the posts if one of the sides (i.e. - the treble post)
the bridge will intonate to avoid a noticeable shift (as stewmac calls it) where the bridge is set either
needs to be adjusted out more than the other .
in string alignment. When the bridge is adjusted Larger Radius - bridge shifts less toward treble - square to the neck, or at a very slight angle. In
out, the pull of the strings shifts the bridge down potential need to compensate less toward bass see trouble free treble post in red above. such an application, the smaller shift of the larger
(strings and all) such that the outside of the bass diameter posts, the eveness of set screw adjustment
One might suspect that the larger diameter posts For posts approaching 0.2825 D (and larger), it’s
ear (instead of the radiused back) is resting against and the notching of saddles makes the need to
are meant for bridges set at a lesser angle... a different story...
the post . compensate toward the bass less of an issue.
 B9
Pulling Strings 22 x 14”

2.025 String Hole Spacing String Alignment

0.200*
5.1° 7.5°

2.017* 2.008*

0.190*

When focussing on string alignment, it’s easy to Through holes... the angle pulls the strings until The example bridge drawn here has through holes The following pages show a few ways to mark the
get caught up in how they align over the poles... they’re resting on the treble side of the hole on exit. that are 7/64ths (0.109375) in diameter... no counter positions of where to drill for the specific bushings
but make no mistake, it’s about the neck. drilling or groove on exit. As such, it shows only a and posts you’ll use. Compensation for string shift
The larger in diameter the hole, the more the strings conservative amount of shift. is included. That compensation may or may not
It’s always about the neck... in this case, how the will angle. Holes that are effectively widened at be exaclty the best amount for the bridge you’ll use.
strings align with the sides of the neck. the exit by drilling and/or groove allow even more Gray line runs from the center of the exit to the nut
angle before the strings bend up and over the top. Before drilling to those marks, you may well want
Depending on the design, the pickup route may Red line is the center of a conservatively shifted to run some string though the bridge and down the
have some room to shift the pickup for better pole pic posted by danelectro showing variation string running to the nut. (centers of 0.011 - 0.056) length of the neck to see how things line up while
alignment. If you’re designing yourself, bridge first
if I’m not mistaken, Dan’s compensated bridge most Of course, the low E is thicker than the high E, so you position the bridge to the marks.
- then pickup route.
closely resembles the pigtail in this regard. the alignment should slightly favor the treble side If you’re fanatical about it (I plead the 5th)...
When perfection is unobtainable, best to err on the of the board... suited to one’s own taste.
Other bridges will vary. you could mock it up on a 2x6, drill and see if any
side of having the high E closest to the center of alignment adjustments are called for. Plugging and
its pole... the higher strings having less mass / redrilling expensive mahogany is disheartening, to
metal to dissrupt the magnetic field. say the least. Pencils and 2x6s are cheap. Pulling
Neck 1st... then poles. the bushings out of soft wood isn’t a problem.
 B 10
A Modern Method LtDave32 posted this method for marking the bridge post positions 22 x 14”

method modified for stop tail bridge

Step 1:
“Measure the precise distance from
the face of the nut to the center of
the 12th fret. Transfer that distance
to the lower bout, marking a line
perpendicular to the neck, across
the body.”

Measure down the center of the neck

with the ruler atop the frets and mark
straight down underneath the measurement.
The greater the neck angle, and the closer the neck
angle rotation point is to the 12th fret, the more potential
error there is in measuring parallel to the front of the guitar.
 B 11
A Modern Method 22 x 14”

Step 2:
“Lay a ruler against each side of
the neck, down the body, and mark
two lines that are perpendicular to
the first line you drew.”

It’s also a good time to measure

and mark the neck center line on
the body... as it may not be the
same as the body center line.
 B 12
A Modern Method 22 x 14”

Step 3:
from the bass side intersection,
measure 7/32” away from the neck.
0.21875

from the treble side intersection,

measure 1/32” away from the neck.
0.03125

draw a line through these two points.

this is the bridge line.

 B 13
A Modern Method 22 x 14”

Step 4:

measure and mark the

center of your bridge line.

Though, in this case,

the center is on the
neck center line
 B 14
A Modern Method 22 x 14”

Stop Tail Bridge

Step 5: for Stop Tail bridges

Move the center of the bridge 3/32” toward the bass side.

0.09375
 B 15
A Modern Method 22 x 14”

Stop Tail Bridge

Step 6:

Mark the post spacing

on the bridge line from
the compensated center
1.625
3.25” spacing shown...
see “how’s it hangin’?”
on page 14.
 B 16
A Modern Method 22 x 14”

Stop Tail Bridge

Step 7:

Measure the diameter of the stud

at the point where the bridge
makes contact. Divide by 2 for
the radius and mark that distance
toward the neck.

“This is where the drill point goes.”

 B 17
A Modern Method 22 x 14”

Stop Tail Bridge

Step 8:

drill for your bushings

ps - don’t forget to also drill the hole

for the ground wire

pss - don’t forget the wire before

pressing in the bushings
 B 18
Modified Method See Speadsheet - Bridge tab 22 x 14”

Stop Tail Bridge Angle = 4.38°

optimized Post Spacing = 3.25
Post D = 0.260 Post R = 0.130
Alignment Compensation = 0.09375
shift toward bass along bridge line
Example = 24.625 rule of 17.817
2D (flattened) string path lengths
- nut to bridge line as a reference:
Bass E - 24.674”
Treble E - 24.830”
Difference = 0.156”
 B 19
Modified Method See Speadsheet - Bridge tab 22 x 14”

Stop Tail Bridge Angle = 4.13°

optimized Post Spacing = 3.25
Metric Post D = 0.260 Post R = 0.130
Alignment Compensation = 0.098”
shift toward bass along bridge line
Example = 24.625 rule of 17.817
2D (flattened) string path lengths
- nut to bridge line as a reference:
Bass E - 24.829”
Treble E - 24.682”
Difference = 0.147”
5.5mm

2.5mm

1mm