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Build your own EGS guitar

Planning

First of all, e-mail guitarworks@thestrandbergs.com and ask for permission. The materials on the site are licensed under Creative Commons. You may use them under two conditions: that you ask permission first and that you make your own enhancements public also under the same Creative Commons license.

The body shape

Start by downloading the body shape outline.

Print it out in scale 1:1 and transfer to a paper large enough to hold your complete guitar, including the neck and any headstock you are considering.

Mark a center line and, along this, mark the location of the saddles, the 12^th fret and the nut. The body shape outline that you downloaded needs to be adjusted in the neck pocket region and possibly in the bridge region, so it is critical that you do this on some cheap media (i.e. paper or your computer) before starting to shape wood.

In the bridge region, you need to leave sufficient material to mount the base plate while leaving room for your fingers to tune.

This means that if you are doing a fanned fret construction (mixed scale), the shape of the cut-away in the bridge region may need to be adjusted. In this case, you need to work out the exact placement and angle of the 12^th fret on your drawing and measure the distance to your outer strings and mark the location of these.

To figure out where the bridge will sit, you ideally have the bridge at hand, but you can work with a printout of a drawing (you can use the installation instructions in the download section). Then, adjust the intonation position in a somewhat forward position (but not all the way, keeping some room for error) and figure out where to position it so that the saddle ends up at the line you drew. If you use fanned frets, each bridge will be positioned at a different distance from the nut (so the line you drew between the E-string saddle positions will not be perpendicular to the centerline).

The red lines in the image above show some examples of how the rear cut-away edge can follow the angle of the mixed-scale placement.

Another consideration is that if your instrument has more strings than 6, you may need to widen the cut-away. To get the proportions of the instrument right, you may need to actually widen the entire shape somewhat in order to accommodate this.

Neck angle/height

Also, in particular if you are designing a set-neck or neck-through instrument, sketch the guitar out from the side. The EGS bridge can be mounted in a two different ways: flat or on a radius.

Here, it is mounted flat (and recessed, which is not a requirement) and the saddles are used to create the radius. The other option is to recess the bridges to match the radius of your fretboard.

The effective adjustment range of the EGS bridge saddles is about 2 mm, but they will look at their best if they are placed in the middle of that range, so it is important to get this right.

The picture above shows how the angle of the neck affects the height of the fretboard/body join. Even a small angle will make a big difference, so take care.

Also, place the intended pickups on the drawing and check their positions. If you intend to glue the neck in, the neck pickup cavity can have an impact on how you design the joint.

String locks/Headstock

Like the tuners/bridges, the string locks are mounted individually. If you mount them in a row, use a spacing of 7 mm.

If you are building a fanned fret instrument with an angled nut, make sure to lay the pieces out to check the layout.

This is an example for a slight angle that puts the holes in line with each other and the strings at a 7 mm spacing. I like to use a zero-fret, which ensures that fretted strings sound the same as open strings and also takes the guesswork out of cutting slots in the nut. If you mount the strings locks at an angle, a nut is recommended however, to ensure that the string spacing is exactly what you intended. Use this nut in conjunction with the zero-fret.

Another consideration is ensuring that sufficient material remains in the headstock for the mounting screws.

Shorten the outside screws if the neck has a radius at the mounting point.

Also, consider where the access to the truss rod is placed. If the truss rod access is below the centerline and a hole is drilled to access it (as opposed to routing a channel all the way to the front) sufficient material can be left to secure mounting.

Think about the height of the string locks in relation to a nut or zero fret.

On to the actual build

Many operations are simplified if you have the correct neck at the onset. Fastening the neck is one of the absolutely most critical operations for the function of the guitar, so it’s better to fail early and start over rather than doing a bunch of work on the body and fail to rout the neck pocket at a late stage. I recommend that you start by purchasing or building the neck.

Buy or make a routing template for the neck pocket, draw a centerline, rout the pocket, fasten the neck and then double check/adjust your centerline based on how accurately you were able to attach the routing template. To check the neck alignment, fasten two pieces of string at the E-string positions and pull them tight and ensure that their respective distances from the centerline are the same near where the bridge would sit. Then, using a ruler, measure from the nut to the 12th fret. Mark that exact same distance from the 12th fret towards the body end on both E-string positions. Draw a line between the two points that you just marked and leave this line there until you have drilled the bridge mounting holes. The line signifies the position of the saddles, without taking intonation into account. You also need to check that the depth (and possibly angle) of the neck pocket places the string at a height at the bridge that works within the height adjustment range of your bridge.

For a neck-through body like the EGS Pro, I do things in the following order:

1. glue laminates of neck
2. band-saw away and shape section on underside of neck portion
3. insert truss-rod (while sides are straight and can be used as guides for router)
4. shape contours of fretboard (so that it can be used as a router template later)
5. cut fret slots (while it’s still thin and easily fitted into the slot-cutting jig)
6. glue fretboard (while it is flat so that it can get optimal clamping pressure)
7. use router to shape contours of neck (using fretboard as template)
8. rough shape back of neck
9. radius fretboard
10. finish fretboard (add inlays) and fret neck
11. glue sides (and top)
12. finish shaping
13. rout cavities for controls and pickups
14. sand
15. fit all hardware and string up to check playability
16. finish/polish
17. done

For a neck, I would do things the same order, with the neck being completed at step 10. Then, I would complete the body with the following steps:

1. glue pieces of back if necessary
2. rout the neck pocket as described above
3. rout the tone cavities
4. rout pickup cavities (with some clearance)
5. finish shaping contours of body
6. glue top, if applicable (the body itself will act as a router guide to clean up the top)
7. cut neck pocket and pickup cavities through the top
8. rout cavities for controls
9. sand
10. fit all hardware and string up to check playability
11. finish/polish
12. done

Mounting the string locks

The same screw that mounts the string lock in the wood is used as the seat for the string. This means that it can be replaced if it ever gets worn. To access the screw, remove the locking screw. The string lock itself is secured against rotation by a 2 mm diameter locating pin. So, to mount the string locks, you need to drill two holes: a 3 mm deep 2 mm hole for the locating pin and a 14 mm deep 1.5 mm hole for the mounting screw.

Grounding the strings

The EGS hardware is anodized, which is a process that renders the pieces not conducting electricity. So to ground the strings, you need to remove some material from the bridges. Follow the instructions in the FAQ section on http://guitarworks.thestrandbergs.com. A zero-fret will help ground the other strings if only one bridge is grounded. Otherwise, it is possible to use a piece of wire or aluminium/copper foil to create contact between each of the string lock mounting screws. This will then connect each of the strings with each other electrically.

ENJOY! And don’t hesitate to ask questions.

Getting this done was not as straight-forward as I had hoped. The Alumitones are a few millimeters smaller (36 x 65 mm) than a regular humbucker (38 x 68 mm), and for aesthetical purposes I had cut the pickup cavities as close to the original Alumitones as possible. This meant that I actually had to get the router out to enlarge the holes for the test. Another interesting fact is that the two Lundgren pickups weigh 250 grams and the two Lace pickups weigh 90 grams. With the EGS#1 guitar weighing in at about 2kg, it still results in a fairly light instrument, but the increase in weight is quite large percentage-wise.

You will have to judge the results for yourself. The larger frequency response of the Lace pickups allow them to be equalized into any type of sound using tone controls and effects, but the clips are recorded with the same settings on the amp.

Some comments from Jonas – his personal views and reflections:

• The Alumitones have a “sparkle” on the high end and the “punch” is high in the tonal register.
• The Lundgren pickups have their “punch” much more in the mid-range.
• The Lundgren pickups have a warmer and muddier sound.
• When playing the Alumitones, he feels he has to hold back a little – they have a tendency to “break” when picking hard. With Lundgren pickups, he feels more “relaxed” and un-inhibited.
• The EGS guitar still responds very quickly with the Lundgren pickups, but the attack is slightly less intimidating than with the Alumitone.
• Jonas’ verdict: “the EGS guitar really comes together with the Lundgren Heaven 57 pickups. Having said that, in something like the sound clip featuring Joe Pesce from FUZZ Guitar Show, the Alumitones beat the Lundgrens hands down.”
• My verdict: “As with anything on an instrument, the choice of pickups is very subjective. Material choices, design features, and electronics all have to blend together to form a complete instrument that resonates with its player. Both of the tested pickups have their merits. I am offering my customers a choice of whatever pickup type suits their playing style and genre the best. The Lundgren pickups turned out awesome in this particular instance, so I am definitely keeping them on. In the niche of ergonomic guitars, design and innovation, Lace Alumitones will continue to be my first choice.”

Clean sample:

Slightly distorted sample:

I created a drilling template since I did not have access to the milling machine that I usually do and hence had to cut the holes manually.

The larger holes are for the guiding pins and the smaller to hold the screws.

Ideally, you would keep the neck square in section where the string locks sit, to give room for the full length of the screws. In this case, the neck is round and I have to cut the outer screws quite short.

Step 1 – route the ground cable

Drill a hole into the control cavity as usual and run a bare wire through it to the bridge.

Step 2 – grind off anodization

Next, grind off the anodization (using a Dremel for instance) from underneath the base plate.

As well as on top of the base plate. Take care to check an approximate intonation first though. You want to make sure that the area you grind off will be completely covered by the bridge when it is mounted. The ground off portion should sit straight under the saddle.

Step 3 – re-mount with the spring

Lastly, insert the supplied spring into the bridge and re-mount it. The saddle will have full contact with the ground off anodization through the spring, and on to the ground wire that sits under the bridge plate.

However, I needed not to have worried. I’m happy to report that it balances perfectly and exactly according to plan.

I started with an alignment test setup that was left sitting all the while I was drilling the holes.

Then, the three main positions were tested:

Look ma, no hands!

Lastly, note the angle of my index finger and how it follows the angle of the frets.

The guitar obviously doesn’t balance itself in this position, but it is very comfortable nonetheless.

I can feel that the comparatively heavy neck and the trapezoidal neck profile (contact Rick Toone for more information on this neck profile) seems to address the “headless wiggle” problem. I can’t wait to string it up, but the mounting plate for the string locks is off for finishing along with the rest of the new hardware.

1. Modular, i.e. ability to build with any number of strings and use compound scale lengths
2. Low weight – for ergonomics, but also for efficient energy transfer into the tone wood
3. Easy to use
4. Easy to manufacture, including minimizing the number of parts that need to be manufactured especially
5. Durability
6. A minimum of energy transfer points, i.e. strive for direct contact with the wood
7. Aesthetically pleasing

Not all goals can be met in every design of course, but they are at least goals.

In this design, the modularity is apparent. In addition to being able to use it with any number of strings, you may also choose whatever string spacing is suitable. Low weight comes from using extremely hard and durable 7075 aluminum. Ease of use is not optimal – I would prefer a solution that did not require a tool. Nevertheless, allen keys are part of most guitarists’ arsenal and widely accepted. This design is not the easiest to manufacture, but with the right machinery it can be done with no more manual operations than any at the face of it simpler designs. It consists of only one manufactured part. The rest are purchased off the shelf components. Aluminium is not the most durable material. For that reason, the mounting screw in this design has dual purposes. The head of the screw (which is made from hardened steel) acts as the resting surface for the string. The string is pressed towards it by a “dog-point” screw. Both of these parts are more durable than the aluminium itself, and what’s better is that they can be replaced if they ever get worn.

The picture above shows a metal screw, whereas in reality, the string lock would normally be mounted directly on the wood. It is possible, however, to create a metal plate specifically for the number of strings and mounting geometry required and then fasten the string locks to this plate and fasten the plate in the guitar.

Another image at an angle.

As for the last point – beauty is obviously in the eye of the beholder. But, I think it will look good in most designs. What do you think?

I played around with it a little bit, and have come up with two alternate placements that will both work well.

Placement 1 is at an angle in the cutaway for the tuners, similar to that of an Ibanez JEM. This could, however, theoretically obstruct the tuners. It could also interfere with placing the guitar in a stand or on a surface. But it gets the cable out of the player’s way.

The second position is at an angle at the back of the body, and I think this is my favorite.

It works well both seated and standing up, in the anticipated playing positions as described in an earlier post.

First, I unwind the tuners to their maximum range.

Next, I thread the string through the tuner.

And fasten it in the string lock.

All six strings mounted.

All six strings fastened. The result is stunning! I have been very impatient to get some of this work done, as may be apparent from some of the woodwork, but it’s done and it works amazingly well.

Next installment will cover adapting a pick guard and finishing the guitar. I am not yet sure whether to mount the Lace Alumitones that I have laying around or if I should go more conventional.

I begin by drilling 1.5 mm holes through the side of the head and through the bottom of the tuner holes.

I then enlarge the top portion of the holes to 6 mm.

Now, I can insert the string locks through the tuner holes. I insert the fastening screws through the side holes and tighten. These hardened screw heads will form the seat that the strings will rest against when locked. This provides good durability and they may also be exchanged if they ever get worn.

This is what it looks like from above.

Here, I have mounted all six string locks.

Viewed from the side, you can see the locking screws. Next installment will cover assembly of the complete guitar.