We’ll be trying something new here at Renk Guitars. Well, kinda new. I’ve always kept a build log via another image sharing website and shared them with my peers and friends on forums, but I’ve been wanting to bring that all in-house and host it here on the Renk Guitars official site. This is the current build I’m working on, which is a 6 string Siren model with similar specs to my own signature Siren model that can be found on the Guitars page. Check back for frequent updates on progress.
After removing from clamps and the blank drum-sanded flat. Cleaned with naphtha, which enhances the grain and figure much like a finish does. The neck will have a strong visual contrast to complement the strength and rigidity of a 5pc neck.
Renk Guitars uses a scarf joint in all neck construction. Strength, stability, and rigidity are key to every instrument. Scarf joints are indexed with small holes and pins to ensure all laminates match up and stay that way through the clamping process.
The slippery scarf joint tamed by a few 1/16″ holes and brads. The brads are removed when the glue is secure enough for the joint to remain in place.
After clamps we level the surface of the neck facing the fretboard to level out the scarf joint. Mark the nut shelf and rough taper, and trace the headstock template in preparation to glue the wings that will make the full width of the headstock.
Truss rod channel is intentionally routed slightly deeper than necessary so I can lap the fretboard facing surface flat before gluing.
I was so impressed with the ribbon grain on this mahogany that I snatched it up immediately. It’s beautiful, rings like a bell, and is a good comfortable weight.
After joining, removing from clamps, and rough cutting the band saw.
Body end grain. Nice quartered grain.
The joint results on the book-matched maple top.
2 dowels index the location for the top when glued to the body. When gluing, woods have a tendency to move. I combat this by eliminating any chance they may have to shift, and this is my preferred method. All trace of the dowels will simply be routed away when I create the neck pocket and the pickup cavities.
Cleaned all surfaces with naphtha and allowed to dry before gluing.
Removed from the press and ready for flush trimming.
Flush trimmed the top to its final shape
Prepared a couple wings for the headstock to fill out the full width. The pieces were taken from the excess on the end of the neck blank for the best grain match. Pictured is my beloved bubinga and ebony hand plane that Anthony Murkar made for me.
Rough shaped the headstock and made a maple headstock cap.
Carved the bevels for the upper and lower bouts.
Went to the pin router for the control cavity. That’s a Freud 1/2″ down-cut bit, and it’s a real wood devourer. Extremely clean routes with this bit.
Routed the neck pocket and fit the neck. Everything lines up perfectly.
Made the heel more comfy by carving some contours.
Macassar Ebony fretboard is slotted and rough tapered in preparation for gluing to the neck.
Fretboard radius, scallops, and inlay added.
Inlay on headstock is an ambigram of the client’s initials. J.F. All inlay will glow in the dark when charged with a light source.
EVO Gold fretwire installed. Good stuff.
Carved the neck. Client requested a thicker neck with a D shaped profile. Tuner holes are drilled and reamed to fit.
Routed pickup cavities and did a quick hardware mockup.
Since the pickups fit, there was one thing left to do. Pre-finishing test play!
John requested a blueburst, which wasn’t difficult to talk me into. Once we agreed on the shade, I got to work with aniline dye.
Clear coat applied to the guitar. Once cured, I level sanded and polished by hand. A buffer is in the works after I discovered the labor involved in sanding through 12,000 grit and hand buffing.
Frets leveled, crowned, and guitar assembled.
Complete and ready for shipping.