May 1, 2019
I am slowly, with caution, climbing back into building and repair. I have repaired one of my earlier guitars for a customer. The curve in the upper bout sproinged (technical term for separated).
I have also helped a friend reattach a sheared headstock on his Harmony Sovereign.
In the wings are the finishing (as in lacquer) of a koa Ukelele, Rosewood OM, and Myrtle Parlor, and Palo Escrito Macaferri.
December 2, 2018
OK, it’s been a year since last post, and you can imagine that this lack of communication indicates lack of progress. You have a great imagination. All guitars (3) and a uke have slouched toward the wrap up step of lacquer application. Plans are in place for completion.
October 30, 2017
I have completed neck shaping, fret installation and fretboard attachment for both the Parlor and OM (1201 and 1202).
Next steps are fine sanding, gap filling, neck adjustment, fret levelling, then pore filling prior to the finishing process (which I abhor).
October 22, 2017
I have officially resumed building. I retired in June from teaching and have ministering to the health care and benefits schlmazel that was necessary to make the transition from employment. Now that I am enrolled in Medicare and supplemental insurance, I can get care for any workshop mishaps with sharp tools (both power and hand).
I have a parlor, an OM, a ukelele, and a Macaferri style guitar in the final stages of production. I’m also mentoring my son, William, on the construction of a Stew-Mac faux Stratocaster.
The parlor (aka 1201) and the OM (aka 1202) have experienced recent neck shaping and fretboard binding. Most of my recent efforts have been relocating the materials, tools and jigs I use. Mostly an effort in remembering where everything lives (which bin, which cupboard, which whatever?). Example: Last week I remember stumbling on a headstock template which I could use for 1202, yet, where is it? I put things down, make a mental note, then have great difficulty finding my mental note in my mental cabinet and subsequently spend time swearing at myself.
The upcomming challenge is to reset the neck for 1202 to remove the 14th fret bulge. This will require careful chisel work. I must confess my chisel work is still rudimentary; not at the skill level to which I aspire.
William and his Stew-Mac Stratocaster
1202: Rosewood OM with Vine fretboard inlay
Rosewood binding on fretboard for 1201
Ivroid binding for fretboard of 1202.
January 27, 2013
I have finished installing the binding. I’ve taken an alternative approach to this guitar. When purfling the top with Abalam, I have, previously, installed the binding, purfling, teflon, purfling sandwich all at once. It has been a tricky juggling process which guaranteed binding cracks, gaps, unseated purfling strips, all because I had to weave 4 different layers into the channels which were slathered with glue, then with my third hand (which I don’t have) apply the binding tape to hold it all in place.
This time, I installed the binding solo, and will clean out the glue overage, then drop the purfling, teflon, purfling sandwich into the open channel.
The photo shows the purfling strips with teflon between, and abalam in the channel after the teflon is removed. Currently, the binding glue is drying, and a variety of cracks are being repaired under clamps.
January 4, 2013
Love to say “butt graft”. Attached the top, cut off the scarf and installed the butt graft. Next, binding!
January 3, 2013
Good news from LMI: KTM9 water based lacquer has shipped from the manufacturer. Availability to me starts January 9th.
Did some packing of the uke after fully prepping it for lacquer finish. I’ve sent it off to Athens, GA for finishing.
The box for the OM aka “Bob” is closed in. I did neglect to install the electronics, but justified my mistake by saying that I need practice installing these after the fact anyway, so we all say.
First, completed sanding and prepping the back and sides to accept the top.
In the past I have wreaked havoc on spruce tops while bracing. I learned since to mask the top while I’m bracing to avoid dings and dimples.
Hey, it was from a calendar my WIFE gave me. The top is all braced and trimmed back ready for installation.
A couple of hours to dry, then I can cut off the scarf and start thinking about the binding and purfling.
December 30, 2012
This will be my last post of 2012. Some things were accomplished in 2012, but all in all, the pace of this year’s building has ebbed in relation to previous years. I could chalk that up to a new career teaching mathematics, but really it’s a case of shifting priorities. I have endured a few crisis moments all around finishing with spray lacquer. As reluctant as I was to put down the spray gun, it is for the better. I cannot continue to subject my families health and my health to the lacquer fumes inherent with nitrocellulose lacquer application. My options are twofold: send guitars out for spray services ($500) or procure hard to find water based lacquer and spray with this less toxic alternative. I’m still on the hunt for water based with mixed results.
I have been working diligently on my uke, Rachel’s parlor and Susan’s OM. What follows is an except from recent work.
Rachel’s parlor has taken a step forward with neck shaping and fret dot design.
The fretboards for Rachel’s parlor and Susan’s OM are seen below the beautiful Myrtle back.
The parlor neck is on top with the Cocobollo headplate. The OM neck is shown with the rosewood headplate.
I’ve managed to shape bracing and install the back to the sides as well as lay down the top bracing for the OM.
The second picture shows the back after the scarf has been trimmed.
August 26, 2012
Yeah, Guitar Camp was awesome, and now I’m home counting the days before I start back teaching. I took a uke and an OM to camp, and as usual garnered a lot of interest from fellow campers who claim they “must have one”. On the last day of camp advice is given to those of us returning to the non-camp world. One bit of proper advice was, “Wait three weeks before accepting a proposal of marriage from a fellow camper.” Same goes for committing to a new uke or guitar.
I’ve resumed where I left off before camp. The Hybrid for Jim has a first coat of pore filler (an epoxy resin) and is lined up for the spray booth.
I’ve installed all binding on the Myrtle Parlor.
I then did what all good builders should do, I burnished my cabinet scraper. Ah, what a difference! Several smooth strokes across the top, and the binding is trimmed flush with the top.
I’m so in love with my first uke. I played it at camp and caught the bug. The uke I’m working on now is really for me (so I’m differently motivated). The top is braced, the tonebars are installed and the neck and top have been joined.
The neck has been stabilized with a graphite rod which lives under the mahogany strip in the center of the neck.
First the bracing and bridge plate were installed.
Then the tone bars.
Finally, the neck and top can be joined.
July 31, 2012
Back and top braced, sanded and installed. Between back and top install, added butt graft in cocobollo, which is also the binding wood.
The pattern on the Myrtle is stunning, and came together nicely after the back install.
While the top gluing cured, purfling was added to the binding then bent in the “machine”. Later this afternoon I should be able to install the binding.
