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I’m getting ready to do my first steel string build. All my previous guitars have been classicals using a Spanish heel with slots for accepting the sides. Working on classicals, I didn’t worry with the different body to neck joints and truss rods. I like the idea of building a box and attaching the neck later. I think that should make finishing and shaping of the neck a bit easier and seems like it should be easier to work on the binding around the neck to body joint, but I have trepidations regarding the neck angle, truss rod installation, and the actual neck to body joint to use on a steel string; I’m not too worried about the change in bracing pattern (maybe I should be). I’m thinking a simple bolt on butt joint for starters, but kind of feel like I’m cheating by avoiding an interlocking joint of some kind (mortise/tenon). Also can’t decide if I should put the truss rod adjustment inside the body (I’m leaning this way) or go with access on the head plate. Since this will be my first steel string build, I was wondering what recommendations some of you might make or pitfalls you think I should watch out for. I’ve got many of the build books, and have looked at a lot of videos, but I do value the opinion and experiences of the folks on this forum. I was just wondering how you might now approach a first build of a steel string or what you might do differently given your own differing backgrounds and approaches. Thanks, Marty.

FWIW I started building classical's in the traditional way also. I then went on to build steel string guitars with a dove tail joint and now I build both classical and steel string joints with a bolt on butt joint. I find absolutely no difference in tone, strength, or any of the other arguments for and against and the elegant simplicity of this joint in both building and repair make it a no brainer for me. I've started building Selmer guitars and find it necessary to use a bolt on mortice and tenon because the heal is so thin on this design that you cannot bolt into it. Other than that I love a simple butt joint. As in almost anything in guitar building there are many ways to skin a cat and more often then not each one is just as good.

I like making a mortise and tenon joint, mainly because I am all set up to do them. I still use a Spanish heel for my classical guitars, but I am thinking of switching to a bolt on bolt off mortise and tenon. I put the truss rod adjustment inside, mainly so that I can avoid the task of covering the truss rod access.

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I've started using a "Spanish-American" style of construction on the last few. Using a bolt on neck with a solera for alignment, still using radius dishes, gluing the soundboard on using tentalones and kerfed linings for the back. I'm laminating sides or bending them using a blanket and block form. I'm trying an "X" brace/ fan brace combination similar to what I've lately discovered was used on some Martin and other early american guitars.
One difference to keep in mind with Steel string guitars is the neck tilts back, so if using a solera the neck extension needs a shim to give this tilt back.

It's possible to have the best of both worlds.

I built my first harp guitar on a solera, as a way of keeping the soundboards aligned (on mine, the harp soundboard is separate, rather than an extension of the guitar top). Since it was a steel string, I wanted to have a way to remove the neck. It occurred to me that I could cut the mortise and tenon for the neck first, and bolt the neck and block together with a 2mm spacer in between to make the slot for the sides. The assembled neck and block could then be treated as a slotted one-piece for the rest of the build. The block is fitted to the top and glued, and the 'tennis racket' clamped down in the usual way while the sides are fitted and glued on with tentellones. After that you can remove the neck if you want: the alignment is already established. My students and I have used this several times since. The only thing you need to remember is to cut out the top at the top of the mortise if you're using a glued on neck; otherwise you won't be able to steam it off. One big advantage: the slot it really clean and uniform inside, and you can size the end grain with hot hide glue before you start assembling, which should help things stick later on if you use hide glue. I used some 2mm no stick strip for the spacers.

I build mostly steel string but did a couple of classicals using Spanish heels. There are builder who use that joint for their steelies (David Freeman even uses it for 12 strings) but in my opinion sooner or later you will want to reset the angle and a removable neck is an advantage (plus it actually makes construction much easier).

You then have three choices - (1) a simple butted bolt on. Big disadvantage is that you have a complex three dimensional geometry and its very difficult to hold everything in alignment as you build and set it.
(2) Bolted M&T - advantages - you can build it with normal tools, it is pretty easy to set the angles and you can take it apart when you need to
(3) Dovetail - an elegant wood working joint that in my opinion takes a lot of practice to get right. You will need special templates to route both parts and most beginners have a lot of trouble setting the angles. One advantage of doing a dovetail is that if you want to repair guitars you will end up working on lots of them.

That said, I did dovetails for the first but now make a simple M&T using my router for the neck block pocket and band saw for the tenon. I have just posted some pictures at the Kit subforum about the bolts and inserts.

As far as the truss rod - I like the adjuster inside the body for several reasons. First, I make a lot of slotheads and there simply isn't room for the adjuster at the headstock. However I also feel even on paddle heads the big routed cavity at the nut really weakens it (this winter alone I have done three headstock repairs on guitars with the adjuster at the nut including a vintage Gibson). The only real disadvantage is that you need to loosen the two inside strings when you adjust it, but you shouldn't have to adjust it that often.

While we are on the subject of headstocks, I also like making a multiple piece neck with a scarf joined headstock - it uses a lot less wood than a carved neck and I think is much stronger. Something like this

Guys, thanks for the feedback. Alan, I never would have thought about using spacers to create the slots; I will have to file that one for future reference. Since I like the repetition I generally build two guitars at a time, I think I will deviate slightly and go with the mortise and tenon on one and simple butt joint on other. I have the insert hardware and will use them on both. Freeman, I do like slotted heads and just ordered the Luthier Tool jig thanks to input from OLF members on another post, so your reponse regarding internal access to truss rod was what I needed to hear; I also do my necks and headstocks just as you pictured - I like the scarf joint.

If you look carefully at that picture you will see that I have already slotted the headstock. I find it easiest to do before gluing on to the neck - I simply drill a series of holes on a drill press then clean out between them with rasps. I also route the truss rod channel while the sides of the neck are still straight and also do a lot of the shaping of the tenon on a band saw before starting to shape the neck.





Frankly I cannot see any advantage to doing a straight butt joint. I've used one on a sawn off neck reset and it was a real pain to get all the angles correct. If you cut your mortise and tenon nice and square the neck will automatically align with the center line of the guitar and its pretty easy to set the angle by flossing the cheeks of the neck heel.

There are a couple of pictures down in this thread on installing the hardware.

viewtopic.php?f=10122&t=43011

Have always used and always will use a dovetail. I have spent a lot of time to learn how to do it right, and see no reason to switch.
FWIW, just finished putting a new T/R in a customer's !#%~!^ guitar with a hanger bolt butt joint neck and the nuts loosened in a couple of weeks. Had to retighten them and redress the frets. Think the neck block compressed more and they got loose.
Freeman, have been doing the same scarf joint with the capture under the F/B and a veneer on the back capturing that side. Works well with a slot head, allowing you to cut the slots independent of the rest of the neck. Feel the same about the T/R.

One reason I like doing the bridal joint Is it allows me to add the face veneer, cut the slots and ramps, shape the peghead, and taper and rout the neck before assembling the neck and peghead. And I like the way it looks.

I can't comment on the truss rod question. I always put them in to adjust on the peg head because....well....that's just what I do. But, apart from my inability to advise on truss rod orientation, I think you should follow your own instincts. Seems to me you will be fine in terms of your neck attachment. As to whether finishing is easier, I've done it both ways. To me, it was not so much a matter of what was easier because both have their little challenges. Both worked well for me. I think it comes down to what you think will work for you. Try it and see if it works for you.

I too don't entirely like the bolted butt joint, but I can see its merits if you can execute it properly. For me, because I have the CNC to cut the tenon as well as the neck block, it makes more sense to do a bolted M&T joint. As Freeman mentioned, alignment, at least in that one direction becomes easy, unless you screw up the angle of the mortise or the tenon.
If I had the chops, I'd probably love to learn to do a traditional dovetail, or better yet, a bolted dovetail. The dovetail has the one big advantage of being able to set it, but take it apart very easily when doing initial setting work. Bolts need to be continually tightened and loosened during the process, which involves sticking tools and hands in through the soundhole, which I don't like to do for fear of dinging it.
...which is why I prefer to put the trussrod adjustment at the headstock, so I don't have to go through the soundhole. Also, the trussrod access inside would interfere with my neck joint design

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