October 28, 2010
I’ve cut MOP fretmarkers in the shape of the raven used in the headstock. I shrunk the original tracing glued to MOP and sawed out. Here’s the original headstock inlay.
The fret markers have been laid out on the fretboard (upside down) to check for visual spacing.
Bracing is complete, just need to do some detailed sanding and shaving with a wee bit of tap tuning before notching the sides to accept the back and top.
October 28, 2010
Guitar 903 started out a an Ovankol OM. A tragic side bending accident put a damper on the progress of this guitar. Since putting away a drawer full of the components originally collected for this guitar, I have taken a billet of walnut from the Berkshires and had it resawn. I now have 4 bookmatched walnut plates, walnut sides in a mold, and my apprentice is taking responsibility for finishing the guitar.
His first task was to install a rosette in a pre-joined spruce top.
Some problems were encountered, but recovery and rehabilitation were successful, and the rosette is ready for installation of the Paua Abalam. Devin comes every Monday and Friday, and there are only a few items remaining to be procured to have the full inventory to finish the guitar.
October 22, 2010
Installed the butt graft today. After trimming back I can install the back and top.
October 17, 2010
My friend Jim has commissioned this Hybrid Cutaway, and a few decisions still need to be made. We’ll model it after the D-hole Macaferri, but use a round soundhole instead.
I have this real nice premade rosette for a classical guitar which might look divine on this guitar.
This template is looking from the inside so it appears the cutaway is reversed.
Jim was going to provide maple or holly fretmarkers, but his lathe refused to cooperate. Here are some options from my shell collection.
White MOP:
Paua dots:
Paua diamonds:
And Chinese Turquoise:
I also have a fancy MOP inlayed fretboard looking for a home. It will clean up real nice once I use fretboard/ebony blackener (devised for the modern striped ebony).
October 16, 2010
Bracing is underway. Spruce for the top and mahogany for the back. Using the table saw, all pieces were cut. Those needing a radius were preshaped on the belt sander then finished in the radius dishes. I used the oscillating drum sander to pre shape the end tapers and scallops, then the belt sander to round over. Each brace is essentially its’ final shape. I’ll use a chisel to bring each brace down to finish size and shape.
The go bar clamping system is used to attach braces. Note the plate is sitting in a radius dish.
I use an acrylic template to layout my bracing before transferring to the top.
Fiberglass rods provide plenty of clamping power. Gloves are employed to avoid fiberglass splinters.
The sides have been kerfed and radius sanded and are ready for back and top attachment.
October 8, 2010
I now have an apprentice. Devin is learning while helping with construction. Tonight we made good progress on the box construction. Starting Wednesday we started with the side bending.
After the sides spent sufficient time in the bender, they were removed, trimmed and inserted into the body mold. The neck and butt block were glued in and clamped.
Again, after sufficient drying time, the clamps were removed and kerf installed.
The back and top were futher sanded and scraped, the soundhole was cut from the top, and the backstrip installed.
Finally, the back and top plates were trimmed in preparation for bracing.
October 3, 2010
I have thickness planed the sides down to .108″. I still need to get them closer to .090″ before I send them off to the side bender (me, I’m the side bender). Once they are an acceptable thickness for bending, I can start the bending, end block, neck block install, followed by kerfing.
Back and top braces still need to be cut from stock then radiussed before installing.
October 3, 2010
I’m starting a new guitar for a friend. Jim has asked for a Macaferri style guitar with a cutaway (my first), a steel string neck width, and nylon strings. I’ll be referring to this new guitar as a hybrid.
All the components have been ordered, or were already in hand. Jim is responsible for the tonewoods and the tuners, which he will deliver later this month. He’s chosen Red Cedar for the top and Palo Escrito for the back and sides. The headstock will be open and use classical tuners.
Most of the design choices have been made, but much detail to be determined as I progress.
September 28, 2010
Spent some time squaring up the drum sander to ensure true surface sanding. Ran the back plates through several times and brought down to .110″. Used a shooting plane, then sanded to achieve perfect fit between plates (no sunlight shines through the joint). Used spanish joining jig, let dry for 2 hours then took a first pass at orbit sanding both sides of the joined plates.
September 21, 2010
The black epoxy used to glue in the headstock inlay dried overnight.
A wee bit of the shell can be seen peeking out from under the epoxy. After sanding on the belt sander, the inlay appears.
The center piece in the cheek moved a bit. I will pry it out, refinish the cavity and cut a new piece to fit. Also, I will score some of the border lines wider to further accent the demarcation between pieces, then flood more epoxy.
