davewhite
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Post by davewhite on Nov 26, 2020 16:28:07 GMT
Enjoyed that Ged. I wonder what you have to do to become a "Master Luthier" - is that a step on the way to becoming a "Doctor of Luthiery"? Open University course perhaps?
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davewhite
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Post by davewhite on Nov 24, 2020 17:39:07 GMT
The positions of the inlaid side/front markers are marked on the fretboard and routed with a 1.6mm bit using this jig: The Oregon Myrtle markers are then glued in and the fretboard levelled. Here’s the result: Then the fretboard is glued on to the neck using fish glue:
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davewhite
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Post by davewhite on Nov 23, 2020 15:23:19 GMT
It's beginning to look suspiciously like a guitar Dave, the windtower headstock is inspired It's serendipitous Rob. The origin of the headstock is the flamenco guitsr "El Xiprer" that I made inspired by a visit to Barcelona with the crown shape at the top inspired by the Gaudi architecture. That was on a solid headstock with pegs and I used the same top shape when I developed my slothead shape for "An Feá Caol" - the Terz Road Trip guitar. Really nice that it resembles the wind towers. Next the Bog Oak fretboard is thicknessed, the fret positions marked out and the fret slots cut: Then the sound-hole end of the fretboard is cut to match the soundhole (after allowing for binding) using my circle cutter jig: The fretboard is going to be bound with Bog Oak with a black/white/ black side purfling and the soundhole end binding was bent on the hot-pipe and glued on: When the glue is dry the binding is trimmed flush with the sides and then the side bindings are glued on using fish glue:
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davewhite
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Post by davewhite on Nov 23, 2020 11:55:40 GMT
but the bass and lower mids can seem over powering and muddy to me, and this comes over in the video. Which is uncanny given what it has been buried in for the last 5,000+ years
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davewhite
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Post by davewhite on Nov 20, 2020 17:04:07 GMT
The stacked heel was glued on to the neck using hot hide glue: The neck is cut to fit the top fingerboard extension slot and the heel sanded to fit the body with the neck in correct alignment and angle in relation to the top. Then the positions for the threaded inserts are marked, the holes drilled and the inserts fitted: Here’s the neck bolted to the body for the first time:
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davewhite
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Post by davewhite on Nov 19, 2020 14:35:07 GMT
Nice to see the slot-head jig back in use Dave, how did you find it worked? It's a brilliant piece of kit Colin - thanks. I don't get on with using the big plunge router like you though and have found a way to use the jig with my Makita laminate trimmer. I put the jig on in position and mark the outline of the slots on the headstock with a white pencil. I take the jig off and then using a 10mm Forstner bit drill a hole inside each slot in between the bottom two tuner holes. I then put the jig back on lining the position up with the slot outlines. Using a 1/4" spiral downcut bit in the Makita I can drop the bit depth for each cut by hand and locate the router bit in the hole in the slot before turning the Makita on and making the cut. Result - calm and nice clean slots. Simples
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davewhite
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Post by davewhite on Nov 19, 2020 10:45:06 GMT
Next the peghead sides are shaped and the tuner holes drilled using this jig: Then the slots for the tuners are routed using the jig and a spiral downcut router bit: The top of the peghead is shaped and the nut slot is cut on the peghead leaving the side black/ white/ black purfling in place: The bottom of the peghead is then shaped, the slot sides sanded clean, and the string ramps initially shaped. Here it is with the tuners test fitted:
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davewhite
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Post by davewhite on Nov 16, 2020 15:21:50 GMT
I also like how your answer to Dave's query is sufficient in detail to fully answer the question but leave those without the knowledge of the guitar wizard ever more mystified. You don't need to understand the "Dark Arts" just play and enjoy
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davewhite
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Post by davewhite on Nov 16, 2020 13:45:04 GMT
Can I ask: what does it mean to "voice" the top? It's the term I use to describe shaping and profiling the braces so that the top "responds" in a way I like over the whole of it's surface area when tapped. The Oregon Myrtle headstock veneer has the nut edge sanded at an angle to match the headstock to neck-shaft angle and then it’s glued on together with veneers of black/ white/ black using fish glue: The Oregon Myrtle veneer back-strap for the headstock was bent on the hot-pipe and glued on together with veneers of black/ white/ black using fish glue:
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davewhite
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Post by davewhite on Nov 12, 2020 11:19:28 GMT
The scarfe joint is cut in the Spanish Cedar neck blank and glued up with hot hide glue in this jig: The stacked heel is then glued up using hot hide glue: The next job is to route the truss rod slot: Next the slots for the two carbon fibre rods are routed: The truss rod is then glued in with a Spanish Cedar cap together with the carbon fibre rods:
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davewhite
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Post by davewhite on Nov 7, 2020 10:15:58 GMT
I must admit I do struggle to grasp this part even with visuals, must be one of those things you have to do to fully understand, least that's what I tell myself. 'Fox-bender' and 'Scutters' are new ones on me too... Channels do look satisfyingly precise Dave, thanks! Rob - I suppose the Dark Arts have to be mysterious To get the Scutter reference you have to be a Red Dwarf fan and guitar maker Charles Fox came up with a jig for bending sides and generously shared his ideas with others. The back purflings and bindings were then glued in using fish glue: Here’s the box after the bindings have been scraped and sanded flush and the hole for the neck extension cut:
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davewhite
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Post by davewhite on Nov 5, 2020 11:51:39 GMT
The black/white/black side purflings was glued onto the Bog Oak bindings and were then taped together with the black/white/ black top and back purflings: The bindings and purflings are then bent in the Fox-Bender: Then it’s out with “The Scutter” to cut the binding channels. The channels are first cut on the top the width of the linings and the depth of the linings plus side purflings. Some scrap pieces of the side purfling are stuck onto the top at the end graft with double-sided tape. The router rides on these to cut the rest of the binding channel. The channels are tidied up with a chisel and the side purflings can be mitred: Then the back binding channels were cut using the same process: Next the router is set to cut the top purfling channels and these are routed out. The top purflings and bindings were then glued in using fish glue:
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davewhite
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Post by davewhite on Oct 25, 2020 11:19:21 GMT
The notches for the brace ends are cut in the top linings and the top glued on using fish glue:
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davewhite
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Post by davewhite on Oct 24, 2020 11:09:52 GMT
Then the split tone-bars: Then the bass side finger braces . . . . . . followed by the treble side: The top is “voiced” and when I am happy I signed and dated it: Here’s the braced and “voiced” top:
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davewhite
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Post by davewhite on Oct 23, 2020 10:19:48 GMT
The upper transverse brace is profiled to a 13’ radius, notched to go over the A frame braces and is glued on using hot hide glue: The Oregon Myrtle bridge patch is glued on in the go-bar deck using hot hide glue and a caul: The European Spruce X brace cap is then glued on: Then the brace behind the bridge-plate is glued on: Then the first tone bar:
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