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Post by Onechordtrick on Feb 23, 2018 14:00:00 GMT
I notice that you've added a soundport. What's the the rationale behind soundports? Not just on this instrument but generally. Thanks A properly sized soundport lets the player hear more (in terms of volume, tonal range and complexity)of the instruments sound with no detriment to the forward projected sound. Something of a win/win (or to be pedantic, a win/not lose). Once you've played a soundport equipped instrument with the port plugged, and then uncovered as you play the penny will drop and a big smile will come upon your face. In acoustic group situations this can be v useful and it certainly enhances pleasure when playing solo. (ooer!) Keith Thanks! |
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davewhite
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Post by davewhite on Mar 1, 2018 10:17:25 GMT
I notice that you've added a soundport. What's the the rationale behind soundports? Not just on this instrument but generally. Thanks Pretty much what Keith said  The scarfe joint is cut on the mahogany neck blank and glued up using hot hide glue in this jig:  The pieces for the stacked heel are then glued up using hot hide glue:  Next the truss rod channel is routed out of the neck shaft followed by the slots for the carbon fibre bars:   The carbon fibre bars are glued in using fish glue and then the two way adjustable truss rod put in the slot and glued down with a mahogany cap again using fish glue:  |
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Post by davewhite on Mar 5, 2018 16:05:16 GMT
A piece of mahogany is glued onto the headstock to complete the surface for the angled nut. When the glue is dry this is sanded flush:  The Maccasar headstock veneers are then glued on using fish glue - the back after bending on the hot pipe to match the volute:   The tuner holes are then marked and drilled wit a 14mm drill bit:  The headstock is shaped and the Wilkinson tuners with Ebony banjo buttons test fitted:  |
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Post by ocarolan on Mar 5, 2018 16:15:00 GMT
Lovely.  But can't help wondering if bigger buttons might be easier to use and possibly even look the part more? Whadyafink?  Keith |
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Post by davewhite on Mar 5, 2018 17:53:54 GMT
Thanks Keith. Lovely. But can't help wondering if bigger buttons might be easier to use and possibly even look the part more? Whadyafink? Keith Only one way to find that out - in terms of ease of use anyway - "looking the part more" is as always subjective |
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Post by davewhite on Mar 16, 2018 14:42:37 GMT
The stacked heel has a slot routed for the threaded inserts and is then glued to the neck shaft using hot hide glue:  The neck has had the fingerboard extension cut on the bandsaw and the neck-block is routed to correct depth. The neck is then tested for fit on the body at the correct angle and position and so that the heel cheeks fit the neck-block perfectly. The positions of the threaded inserts are then marked on the neck, the holes drilled and the inserts fitted with epoxy:  The neck is bolted on to check fit:  The fretboard is going to be a Sapele base with an ebony face which will then be bound with Macassar Ebony with b/w/b side purflings. An Ebony fretboard has been sliced in two and is then book matched end on with the join where the orthogonal 17th fret will be. The two ebony pieces are glued with fish glue to the full length Sapele base. The excess ebony veneer will be used to make a composite fretboard for a Piccolo guitar:  The frtboard is marked for the frets and checked on the neck.  |
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Post by davewhite on Mar 27, 2018 17:09:06 GMT
The fret slots are cut in this jig:  Then the fretboard is tapered and the end routed to match the soundhole curve:   A piece of the Macassar ebony binding with b/w/b/ purfling is bent on the hot pipe to follow the soundhole curve and is then glued to the fretboard in this jig:  The Macassar ebony bindings with b/w/b/ purflings are then glued on using fish glue:  |
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Post by davewhite on Mar 28, 2018 19:10:02 GMT
The positions of the inlaid side/front markers are marked on the fretboard and routed with a 2.5mm bit using this jig:   The Lawson’s Cypress markers are then glued in and the fretboard levelled. Here’s the result:  The fretboard is then glued to the neck using fish glue:  |
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Post by davewhite on Apr 10, 2018 12:13:26 GMT
The neck is then carved:  The fretboard is profiled to a 9.5” radius:  Then the gold EVO frets are pressed in:  Here’s the fretted neck on the body:  |
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Post by earthbalm on Apr 10, 2018 12:22:47 GMT
Were Anthea's frets the same gold EVO? I loved them!
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Post by ocarolan on Apr 10, 2018 13:43:35 GMT
Excitinger and excitinger!  Keith |
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Post by davewhite on Apr 10, 2018 14:30:31 GMT
Thanks Keith.
Dale - yes it's the same fretwire as "Anthea".
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Post by Deleted on May 9, 2018 9:56:08 GMT
Has she been strung up yet then Dave?
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Post by davewhite on May 9, 2018 15:38:55 GMT
Has she been strung up yet then Dave? Not yet Robbie - I've got a bit side tracked on other commissions but hope to have it finished in the next few weeks. |
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Post by davewhite on Jun 10, 2018 17:00:20 GMT
This has been on the back burner for a while as I've been doing some commissions and other interesting projects but it's time to bring it back in line so today was bridge making day. The Macassar Ebony bridge blank is sanded on the top to match the top’s curvature:  The 3mm wide saddle slot is then routed using this jig - (thanks to ocarolan and @robbiej for info on string compensation measurements):   The rear of the bridge is ramped and the bridge-pin holes drilled with a 7mm drill bit:  The bridge-pin holes are then counter-sunk:  The rest of the bridge is shaped:  The bridge carefully positioned on the top. The outer two bridge-pin holes are drilled through:   Two Teflon pins of the same taper as the bridge pins are cut to size to hold the bridge in place when it is glued and clamped on later:  |
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Jo whoever he is.
