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The next step calls for cutting the neck blank along a fifteen-degree angle to the face.
The cut-off piece is then turned around and the sawn face is glued to the underside of
the main piece to make the headstock angle. This is an extreme angle, much tighter than
my miter saw can do. I looked around for a protractor - I must have a dozen of them
dating from grade school on up - and couldn't come up with one. How to make the cut?
I pondered the meaning of fifteen degrees. I knew I could easily draft such an angle
with a compass or with a pair of drafting triangles, but I didn't want to go drafting on the
side of a piece of wood, or cutting up little pieces of paper to transfer the angle. I started
playing with my draftsman's triangles and came up with the equation 45 - 30 = 15.
If I clamped the two triangles together with their points together and sides aligned, the
angle between the two hypotenuses would be my fifteen degrees.
Resting the hypotenuse of the 30-60-90 triangle on the face of the board with the 45
degree triangle resting on the edge and the points lined up with my mark on the top
gives the correct angle along the edge of the board.
Here's the setup for gluing recommended in Cumpiano and Natelson, with a small
difference. Instead of using a narrow board, I'm at the edge of a table. It doesn't make a
lot of difference, just a little harder to fit all the clamps. Two clamps hold down the
main shaft while an engineer's square checks to see that it's perpendicular to the
tabletop. A clamp on the right holds down a stop block that will keep the headstock
from slipping along the slippery glue plane. Two cauls a little narrower than the joint
are ready.
Glue is applied to the sawn face of the
headstock, and it is swung into place to
meet the shaft. The cam clamp (second
clamp from the right) holds it down, while
the cauls protect both surfaces from the
four C clamps pulling it all together.
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A little terminology here. From one end to the other: The Headstock is the piece of
wood at the far end of the guitar that will be cut down to become the peghead - this is
familiar as the place the tuning machines are mounted. Peghead veneers are laminated
to the front of this piece to provide strength and to hide the scarf joint made last week.
The other side of the scarf joint ends up where the carved curve of the neck meets the
flat of the peghead, so it's disguised by the complex geometry of the area. The next part
is the neck shaft itself. The fingerboard with the frets is glued to the front of this, with
the nut at its very end. The nut has the notches that the strings run through, and
determines the spacing of the strings at the "head end" of the neck.
At the other end of the neck is the heel -- right now, until it's carved, it's called the heel
block. The heel is the deep part at the end of the neck that joins to the body of the guitar.
It ends in a tenon (sometimes a dovetail tenon, but not in this guitar), which is a
projecting piece of wood that mates into a recess in another piece, which recess is called
a mortise. The piece on the guitar that contains this mortise is called the headblock. The
headblock is just inside the body of the guitar at the "top" end.
I think that covers the terms we're going to be using for the moment. The next job is to
install the truss rod. The adjustable truss rod is now a standard feature of steel-string
guitars, both electric and acoustic. Classical (nylon-stringed) guitars don't use them,
because the string tension is so much less that the neck is likely to stay straight without
help. A little digression here. When a guitar fretboard is absolutely straight, it won't play
properly, because the strings vibrate both side-to-side and up-and-down (and every way
in between) even though the plucking action may be side-to-side. On a straight
fretboard, the up-and-down vibrations would hit against the frets further down the neck
causing buzzing or even wrong notes. So a little relief in the fretboard is called for. This
relief is a slight curvature along the fretboard away from the strings. So that if you were
to fret the string at the first and fourteenth frets, you would still see a little daylight
between the string and the fifth fret.
This relief is automatically provided by the tension of the strings pulling against the
neck; but it might be too much, or after some time, the neck may tire and bend a little
too far, raising the action - the height of the strings above the frets - so high as to make
the guitar unplayable. The truss rod is able to correct this by introducing a reverse
curvature inside the neck. The simple adjustable truss rod consists of two steel rods
firmly attached at one end (or, usually, one rod bent double) and with one (upper) rod
held stopped at the other while the other (lower) rod can be shortened, by turning a nut
threaded on to it. Pulling in on the lower rod forces the upper rod into a downward
curve. When this pair of rods is embedded in the neck, its curve forces the neck to bend
back a little, restoring the relief to the proper amount.
The truss rod is not able to adjust a bad high action on a guitar - although the results of a
truss rod adjustment can seem to do this. All the truss rod can to is to force the neck to
bend backwards, which helps only if the neck is bent too far forwards. (Some truss rods
are two-way adjustable, that is, they can add relief as well as reduce it, but the one going
into this guitar is not that kind).
The neck shaft is given a 1/4" groove,
9/16" deep, to accept this Luthier's
Mercantile "TRS" style truss rod. The rod
itself is seen in the foreground of this picture. It's wrapped in heat-shrink plastic to keep
it from rattling in its groove. The rod is not glued into the neck, but just laid into its
groove. I didn't take a picture of the process of making this groove, because I had both
hands on the router! Perhaps I'll go back and make a pic of the router set-up, which
involves a standard router "fence" that attaches to the bottom of the router and slides
along the side of the neck, holding the router bit at a fixed distance from the edge of the
neck. Item to remember for next time: the router fence comes in a "U" shape with two
pieces that ride the edge. The face of each piece has a hole for mounting a continuous
piece of material to serve as a solid fence -- make that solid fence! This operation will
be much less nerve-wracking at the lower
end of the neck!
Here the rod is in the groove, with its
rectangular block hanging out the end of
what will be the neck tenon. The block has
This photo shows the end block of the truss rod as well as the markings on the neck for
cutting the tenon. The line across the neck marks the distance of the fourteenth fret from
the nut: this will be the place where the neck joins the body. The lines running from this
line to the left mark the edges of the fingerboard: the neck blank will be carved back to
these lines. The lines running from the juncture line to the right mark the edges of the
tenon. The wood outside these lines will be cut away to leave a protrusion that will fit
into the body of the guitar, into a matching mortise in the headblock. Those paying
attention will notice that the part of the neck shaft that overhung the heelblock has been
cut off.
To finish leveling the spline in its groove, a scraper is used, in order to have better
control in not gouging a hollow into the neck face. The scraper is simply a flat,
rectangular piece of high-quality steel. To prepare it, the edge is rubbed flat on a
whetstone on both sides, then perpendicularly to the stone. This ensures a flat edge
that's square to the sides. Then a "hook" is burnished onto both sides of the edge by
running a smooth, very hard piece of steel along the edge with a slight angle -- either a
purpose-made burnisher or the side of a chisel. This draws out the metal on the edge of
the scraper into a sharp hook that can take very fine shavings, as you can see in the
photo. You flex the whole scraper slightly, then pull the edge along the wood, tilting it
toward you so as to make the hook "bite" into the face of the wood. It's very easy to
control just where you're scraping and leaves behind a very smooth, shiny surface. The
scraper will be used all over the guitar for finish-leveling surfaces and very controlled,
delicate cutting.
The excess wood -- the "cheeks" -- of the
neck tenon are cut away along the lines
shown in a previous photo. This is done
with a hand saw, in this case the trusty old
dozuki, or it can be done with a table saw.
You might be able to see in the photo that
the faces that will meet the guitar body are
angled slightly back, to make a close fit to
the body easier. The gap will be covered
by the fingerboard on top and the heel cap
underneath, so nobody's the wiser. This step should be done before the installation of
the truss rod, but I got carried away and went out of sequence. No harm, assuming I'm
going to do the tenon by hand. It makes the table saw method impossible!.
was to designate one set as sacrificial, to be cut up to make templates. I cut out a halfguitar from the sacrificial set and spray-glued it to a piece of 1/8" plywood to make a
body template. I bandsawed around the paper and smoothed out the curves with a
microplane rasp.
I used this template to trace out a fullsized guitar body on two pieces of 3/4"
ply to make a workboard. The workboard
is cut 1/2" larger all around than the guitar
body, and has a short neck extension for
clamping it to a workbench and a shorter
tail extension for some fixtures that will
come later. This kind of looks like the
back of a jumbo archtop, doesn't it?
Lacking clamps that can reach out to the middle, I weight down the two pieces for
gluing with whatever is handy.
And so to bed for this weekend, the second of the great homemade guitar documentary.
I had hoped to get a little further this weekend, but slept in both Saturday and Sunday.
The following weekend was worse in terms of the project. Work and social
commitments prevented me from getting into the shop at all. I picked up the following
weekend, though, on the rest of the operations on the neck.
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After trimming the top edge of the peghead off with the dozuki: here's a really cool
plane curl that came off the side of the peghead. Next to the dark rosewood and
mahogany, the thin edge of the maple veneer looks like Oreo filling.
Here's the first step at shaping the heel; cutting away most of the heelblock. The choppy
appearance of the curve is caused by having to back up the bandsaw blade and re-angle
to make the curve. I still have the 3/4" blade on it that I use for resawing. Keeping the
cut quite far from the final curve is a security blanket for an insecure carver. The rest of
this operation is done by eye, and I want to have a large margin for error in putting the
'point' on the heel.
The cheeks where the heelblock is wider than the neck are removed with the bandsaw.
In Cumpiano and Natelson, visible here behind the neck, it says not to come closer than
1/8" from the line where the edge of the fingerboard will go, but it's not quite clear
whether they mean sideways or below or both. Later it's clear they at least mean not to
carve all the way up to the corner from below. I keep away both ways.
Here the concave shape is established. The next step is to knock off the corners,
establishing a second facet tangent to the curve marked out for the bottom of the heel,
blending up to the neck shaft. I started in carving that with the knife seen above, and
didn't stop for a picture until...
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I had prepared a board by routing the channels I thought I was going to use, and used
this as a mold to let the curved stripping set.
log. To bookmatch the pieces, you place them in the orientation they had in the log, then
open them like a book and glue the two near edges together. It yields a symmetrical
grain pattern, and, for an instrument soundboard, a symmetrical wood structure. When
you order a top, you can have LMI sand them to a given thickness and glue the pieces
together. These operations are tedious and they require either extreme skill with a plane
or a heavy-duty thickness sander, so I opted to pay for the thicknessing and joining to be
done for me. I also had them thickness and join the back, and thickness the sides.
This top is made of Sitka spruce, a wood native to the American Northwest. It has a
very high strength to weight ratio and acoustic characteristics that make it the most
popular wood for steel-string guitar soundboards. When I "tap test" the top wood by
holding it near the edge and rapping it with a knuckle of my other hand, it has a bell-like
sound. It is a beautiful piece of wood. I'm now about to take a chance at not wrecking it.
I agonized for a while about how to put the channels in the top for the soundhole
rosette. I thought of grinding a special cutter for a fly cutter, but the one I have isn't big
enough, and besides, if you look at it, it seems awfully risky. The thought of modifying
my Porter-Cable router to cut circles as recommended in Cumpiano and Natelson didn't
appeal to me. That's a lot of horsepower against the delicate spruce of the top. LMI
offers a specialized router harness for a Dremel tool that does all kinds of magic for
lutherie...but it's 125 clams, and I've already spent a lot on this project. In addition to
which, LMI takes forever to ship anything.
channel for the purfling, when I notice that the purfling ring won't stretch to fit it. After
shaving down the wood between the two rings, I have approximately a 1/2" channel. I
rout down against the inner circumference of this channel, shaving about a 32nd of an
inch each time, until all the rings fit into this channel.
scrape the rings without too much scraping the top, and an abrasive might drive darkcolored dust from the ring material into the light top wood.
If you use a fly cutter to take out the soundhole, don't be alarmed when the soundhole
climbs up the drill bit as it cuts through!
mirror image on the other side. The material for the sides is closely matched to the back
in color and figure. Luthier's Mercantile Inc. promises first grade materials in the boxed
set, and in my admittedly inexperienced opinion, they certainly deliver.
LMI offers two grades of boxed materials for steel string guitar, differing mainly in one
having mahogany back and sides and the other rosewood. The other differences are in
the ritzier decorative materials in the rosewood set. The rosewood set comes with
Martin-28-style herringbone purfling and rosette, and the back strip features an
elongated checker pattern of maple and rosewood pieces. Picture a little further down!
The initial try at routing to full depth sends up smoke, so I back off the depth a bit, and
take about .02" at a time. Any more than that burns badly. This rosewood is dense,
which makes it a stiff and resonant reflector of sound. After getting to about .07 inches
(the material is .11) I need to increase the width of the groove. This I do by adding
successive layers of tape to the bearing edge of the router base. This adds less than
1/64" at a time, so I am sure I will not go over and get a sloppy fit.
And now for something completely different. The wood for making the braces that help
to strengthen and stiffen the underside of the top comes in a billet split right from a log.
As you can see, it is split along the radial lines of the fibers of the wood. To make
braces that will have the best acoustic properties and greatest strength, you should have
wood that has no run-out of the grain, i.e., the fibers should continue through the piece
to the greatest extent possible given the shape of the piece. The way to get that is to split
the material along the grain down to the approximate dimensions of the piece, and then
saw and plane to the final dimensions.
The normal way to do this would be with a froe, a specialized tool for splitting wood. It
has a long blade with a handle mounted perpendicular to it. You drive the blade into the
end grain of the billet, then pull the handle to the side to turn the blade and widen the
crack. I found Sunday afternoon not quite done when I glued in the back strip, so I went
over to the Woodworkers' Club to see if they had a froe. They carry two models, an outin-the-woods he-man one and a small one for splitting basket strips. I figured on the
small one. Well, they didn't have either one, so I settled on the method pictured. I
started a crack about where I wanted it by driving a chisel deep into the side of the billet
near the end, then walked the crack down the billet by leapfrogging two chisels down
the crack. Apart from having whacked my thumb four or five times, it worked like a
charm.
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brace, I continued the line out to the edge of the extra material. This gave enough of a
line to orient the straightedge after the plan was removed, to draw the actual brace
within the outline. This sounds more complicated than it was!
As you can see, the split diverged significantly from the sawn face of the billet. I'll now
resaw the braces out of the billet using the split planes as references, and the lines of the
fibers will run uninterrupted through the length of the braces, at least in the center third
or so of the brace.
Here two adjacent sides of the brace blank are smoothed and square to each other; this
was done with the fore plane. I'll mark the height and width from these sides and plane
(or in some cases, re-resaw) the rough sides down to that dimension.
Here is the clamping arrangement for the upper transverse graft, a thin piece of spruce
that runs under the area above the sound hole. The grain runs right to left. The piece is a
cutoff from the soundboard material, less than 1/8" thick. It's an inch wide, and reaches
to within about 3/4" of the edge on both sides -- far enough away to miss interfering
with the linings when the sides are attached. It's being glued here with a piece of 1-by
stock cut to fit it as a caul. I've read a number of things about this piece, and there's
some controversy about its use. But I'll put it there because I'm building this first guitar
"vanilla" and both Cumpiano and Natelson and the plans have it there, and it's
traditional. Here you see there's a board underneath the soundboard for the clamps to
bear on. The board is used in clamping the bridge plate as well, though you can't see it
in that photo. The board is used for these wide, flat braces because a bit of extra
pressure is needed to make sure they meet the soundboard over their whole surface, and
a little extra pressure is needed for that. Other braces, as you will see, are clamped
without such protection because the pressure is lighter and the soft faces of the clamps
prevent marring the soundboard face.
Finally, here's the result of this weekend's work. Next weekend is Easter and my folks
are visiting, so I'll get even less done! Actually, getting all the brace blanks roughly
dimensioned took most of the time this weekend.
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Week 6: April 9 - 22
Another 14-day week, because with house guests for Easter and a visiting relative in
New York the next weekend, I just about
got one day in the shop over the two
weeks.
The next step is to glue on the soundhole
braces. They don't take much clamping
pressure, as the glue soaks right into the
spruce. A very thin glue line.
The two side soundhole braces are longer due to the geometry of the thing, so they need
a different clamping scheme.
The braces are glued "in the square" to give a level surface for the clamps to bear on,
but are then shaped to various rounded profiles. The finger braces are feathered away to
nothing right along the edge of the X brace and a half-inch or so away from where the
sides will be, leaving room for the linings. Other braces will run right up to the sides,
and there will have to be gaps in the linings to accommodate them.
Here is the layout of all the braces except the X. The lower face braces have been glued
in and shaped like the finger braces. They are also arched like the upper face brace. As
you can see from this, all the braces except the two uppermost lead into (or away from)
the edges of the X brace. All the ends go right down to the X-brace line, whether they
will feather away or butt up against it.
to have the most effective coupling of the two members. In this photo, the braces are
just laid into their position. Like the upper face brace, the X brace is given a slight arch
before being glued into position.
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Week 7: April 23 - 29
This week, the sides must be bent. I've done some bending before, making a couple of
small Shaker-style oval boxes of white oak and cherry. That was done by boiling strips
of wood in water and strapping them around a form. The free-standing method of
instrument building involves shaping the ribs against a hot tube by hand and eye alone. I
look forward to the challenge.
First some preliminaries must be taken care of.
The last item for the soundboard is to make and attach the tailblock. The making is
straightforward; it's just a block three by four inches and 3/4" thick. The grain runs
parallel to the grain of the sides, so that the surface glued to the soundboard and the one
glued to the back is long grain rather than end grain.
Because the four-inch dimension is to be across the grain, there's no way to cut it out of
the neck blank log, since the widest dimension is just shy of four inches. Presumably
LMI intended the tailpiece to be made with the grain going the other way. While
recommending the horizontal grain, Cumpiano and Natelson acknowledge that folks
disagree about it. Since I have a good, straight-grained piece of mahogany knocking
around the shop, I decide to use that and follow the C&N program.
It's critical that the end that attaches to the soundboard be perpendicular to the face that's
going to be glued to the sides at the butt of the guitar. I use the fore plane to level the
edge of the board before cutting off the block, checking with and engineer's square.
After cutting out the piece, I final-level it
with the block plane.
This is the purpose of the little tab at the
end of the workboard. While clamping the
block to the soundboard, the tab provides
a ledge to set a square. The excess wood
at the bottom of the soundboard is
trimmed away to allow the square to
reach. Because the block doesn't come all
the way to the edge of the soundboard it's set back by an amount equal to the
thickness of the side material - the small
combination square shown is the best way
to get a reading: you can slide the ruler up
an eight of an inch to clear the last little
bit of the soundboard material and come
into contact with the tailblock. I did check
this arrangement against an engineer's
square to make sure that sliding up the
ruler didn't introduce a small angle into
the square. This square, by the way, may
be the classiest tool I own. It's a Starret four-inch combination square that my Dad
recently gave me.
Something I left over for later back when I made the workboard was to make a cork rim
to support the edges of the soundboard after the arched braces have been applied.
Operations up to now, like attaching the braces and the head and tail blocks, have not
required it, but it will be needed when the sides and the back are attached. I had a hell of
a time finding the sheet cork. Not at Frank's (crafts and garden supplies), not at
Woodworker's Club (Woodcraft), not at Home Despot, though I can't stand being in
there long enough to make a thorough search. Not at the couple of local hardware stores
I tried. The guy (I should know his name - he knows mine) at Woodworker's Club in
Norwalk, Connecticut is always super helpful and knowledgeable in suggesting other
places to check for things he doesn't have, and he suggested Michael's craft supplies
(among other places), which is where I finally found it. The cork is 1/8" thick and
attached to a sheet of stiff paper.
Because this is in place when the back is attached, it's important to remember to put the
wing nut on the underside of the workboard at that time. It's a little more trouble, but
because I know that I will forget it if I have a chance when the time comes, I decided to
always do it that way.
Preparations
The sides need to be matched and jointed. Place the sides together so the figure
matches. Usually, the pieces will have come from a single board and matching involves
placing them back together in the orientation they had in the board and then opening
them like the pages of a book so that two edges are together. There are two ways to do
this, so pick the one that looks best and choose the side you want to have showing on
the outside of the guitar. On my materials, there was really no difference inside and out
so I could pick the figure orientation without considering this. At one end of the pieces,
the figure took a slight curve, and I decided to put this end at the tail of the guitar. I put
the two pieces together face to face and, using the fore plane, jointed the edge that
would be contacting the soundboard so that it was straight and smooth.
Both pieces had begun to split at the tail end, probably due to bringing them into my
house in mid winter when the inside humidity went to almost nothing. I had to plan on
not using the last inch or so. Fortunately, this is a small guitar!
I rolled a small roll of electric tape along the outline of the template, and marked the
location of each major turning point or focus of a bend in terms of the number of
rotations the tape made. I then transferred these measurements to the side material so I
would have reference points to work from. I made each mark on the convex side of the
bend, so I could see it while holding the concave side against the bending iron. This
turned out to be only a little bit helpful, as I checked the bend against the template so
frequently I always knew where I was without referring to the marks on the wood.
Bending
The LMI Professional Bending Iron takes a long while to heat up. So long, in fact, that
when I first tried it out I was afraid that it was defective, because after several minutes
on "HI" (Hello!) it was barely warm. It gets there eventually. I have the blisters to prove
it. I let it heat up at the "HI" setting, and then backed it off to 6 (it's marked "LO", then 1
through 6 and "HI", so 6 is the second highest setting). I set up the iron on its side so
that the wide parts were on the two sides and the sharper curve was down. In section,
the iron is egg-shaped, and the pointy end of the egg was toward the floor. I ended up
doing almost all the bending against the
blunt end of the egg.
I began bending the first side at the pencil
line I had marked for the narrowest point
on the waist. I laid the wood against the
iron at this point and rocked it back and
forth to get the heat into a band of wood
about 3/4" wide. The water in the wood
hissed and popped, and I could see it
surging up through the wood, or perhaps just the water on the near side of the wood was
boiling. I began to apply pressure on both left and right while continuing slowly to rock.
The wood began to bend, almost imperceptibly -- until I held it up and looked at it, I
wasn't sure there was a bend at all. After a minute or two, the wood seemed to "let go"
and I could easily push a bend into it. I held the wood in its new shape and checked
against the template -- still had a way to go.
By this time the wood was dry on the surface on both sides, so I dipped it in the water
for a few seconds and went back to work. I thought I was focusing too much on the one
point, so I went a little to one side and the other of the pencil mark and rocked and
pushed until I felt a bend starting. This was a mistake. The waist on this guitar is a
pretty sharp curve, and I needed to get most of the bend focused at that pencil line. I
found this out later when I tried to get the lower bout to come down to the line.
It takes some pressure to get a bend into the wood, and you have to not worry too much
about tearing or cracking the piece. Otherwise, you are going to rock or slide it back and
forth until it scorches without any bend getting into the piece at all. In the first photo of
the bent sides you can see scorching on the piece above and to the right, and almost
none on the other piece, which I did second. You can learn by doing! The scorching is
there on the inside of the waist bend as well. I hope the scorch marks will scrape out. If
not, they will be a little mark of history. When bending the waist on the second side, I
found that the pressure can be applied sooner and more strongly. The bend will still start
gradually and then almost suddenly the wood will be supple. I can only speak for
excellently quartered and straight-grained rosewood at this time, but by the time I was
finished with the second side I was applying considerable force at each point and never
heard a tear or crack. It's a matter of getting a feel for it, which, for me anyway, didn't
take very long.
While the waist bend needed to be done almost entirely in one place against the iron, the
upper bout bend is less pronounced, and needs to be introduced a little at a time as you
slide the wood along the iron. I found that it worked best to apply pressure while
rocking back and forth for just a few seconds, then move over maybe an eighth of an
inch and repeat. Do this only three or four times and check against the template. If you
get ahead, you may over bend further along the curve.
The long, changing curve on the lower bout was almost more difficult to bend than the
tighter curves. The best method I found was to be very careful not to get ahead, but to
work one short section (about 1/2" at a time) until it would lie right against the line in
the template. Any time I tried to work a longer section I found that I had overbent out
along the curve.
The wood dries visibly as the process goes along, though internally it remains quite
damp, as you can tell as soon as it cools a little. To prevent scorching, I tried to dip from
time to time whenever I worked a section long enough so that it looked dry.
That's about all I learned from this experience. It took about four hours to bend both
sides, much of which was pondering just how to do it or correcting overbent sections.
I've decided to use a modified "tentellone" method to attach the sides to the soundboard.
Tentellones are small individual gluing blocks that provide more glue surface than the
thin edge of the side material. With the sides lightly clamped to the soundboard as in the
photo above, the blocks are glued one by one to the top and sides. Because they are
small and light, the surface tension of the glue is enough to hold them in place until the
glue sets. While Cumpiano and Natelson describe this method, they prefer using
continuous kerfed linings that are glued to the sides; then the assembly is glued to the
soundboard. This involves locating the ends of the braces that reach all the way to the
sides and chiseling away the already-glued lining at those points; later, when the sides
are attached, individual blocks are placed on the sides over the braces. I have a couple
of reservations about this. First, gluing something on only to chisel it off later goes
against the grain. Second, the operation of gluing the entire side at one stroke is an
invitation to disaster and an awkward setup, requiring a lot more clamps than I like to
use (or than I even have). By clamping the side down dry, I can fiddle and adjust until it
lies just right along the line without smearing glue everywhere.
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Here's that big sanding board, being used to level off the sides with the linings attached,
and to round over the break angle between the level and sloped parts of the back. A
slight dip at the headblock and tailblock is also imparted using the board.
As I approach the attachment of the back, it occurred to me that the six-inch bolt I'm
using to hold down the block that holds down the top will not come out of its hole if the
back is in the way! Once the back is on, I'll need to release the box by pushing the bolt
up through the workboard and fishing the block and bolt out of the soundhole. I cut the
bolt down to a more manageable length.
Here's a train wreck. No, it's a bridge gluing caul. This is much more complicated than
the one in Cumpiano and Natelson, because this smaller guitar has more braces meeting
near the bridge. This is made to go under the bridge plate to act as a caul for clamping
the bridge to the soundboard later on. The biggest part of it rests against the bridge
plate, while the small triangles fit on the other side of the x-brace, straddling finger
braces. The chuck taken out on the lower left in this photo accommodates one of the
lower face braces. Because the triangles are so small, one of them broke off while
chiseling out the gap between them. I went ahead and glued pieces of rosewood from
the cutoff from the bridge plate to see if there was any problem fitting. Because the big
part sits on the bridge plate, the small triangles would not contact the underside of the
soundboard without these pieces to act as shims. I'm going to make a new caul along the
lines of the upper face caul in the next photo.
pieces to it. No train wreck. The two blocks to the lower right in this picture sit on the
upper transverse graft above the upper face brace while straddling the truss rod nut. The
block at the upper left will contact two of the soundhole braces while the piece of
soundboard cutoff glued to it contacts the soundboard between them along the upper
edge of the soundhole.
Why am I showing these cauls in the middle of fitting the back to the box? Since they
must straddle the braces to contact the soundboard snugly, they need to be made before
the back is put on, so that they can be test-fitted and adjusted. This would be hard to do
through the soundhole!
And that's as far as I got this weekend. I had hoped to get the back on this weekend, but
real life happened. The trimmed braces fit into the notched linings quite well, and I was
able to get a good tracing of the sides onto the back for the final trimming...and then all
that's left is to strap it on! Tune in next week.
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Week 9: May 7 - 20
Most of the work on this page was done May 7 and 8, as I got sick during the week and
really couldn't do anything the following weekend.
Here's my bench setup for routing the binding ledges. The guitar box is held between
two bench dogs which are hidden under the plush towel that protects the box. Because
the end hangs off the front of the bench, I've lightly clamped the upper bout. After
routing up to the waist on both sides, I'll turn the box around and rout the upper bout.
This is easier than it sounds, especially if you slept through high-school geometry.
Both the veneer strip and the binding strip are too brittle and stiff to simply glue on, so
both are bent against the bending iron first. This proves difficult with the binding strip,
because it is far from straight-grained. At one point I broke the strip clean through, with
the grain running at 45 degrees across the strip. I found that using a block of wood
against the back of the strip right at the point of bending helped to keep it from splitting.
I first glued the purfling to the guitar and then the binding strip to the purfled edge. I
said that so I could use the word "purfled" and add it to my spelling checker dictionary.
The strips are held down while the glue sets by pieces of masking tape. Some folks, I
have heard, use cord or rope to do this. One amateur etymologist claimed in the
MIMForum that this is why the binding is called binding. He's wrong. I think.*
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tenon is going to have to accommodate. You can see a little mismatch on the height of
the two pieces of binding; this will be covered by the heel of the neck when it is
attached. I scratch my head over how this mismatch occurred, since the binding rests on
the routed ledge, which should be the same depth on both sides.
One thing I discovered when trying to set the neck level to the top of the soundboard is
that the truss rod isn't set deeply enough into the neck. I followed the recommendation
in the LMI catalog for the routing depth, but the top of the end piece on the truss rod is
only about 1/16th" below the top surface of the neck. and therefore hits the underside of
the soundboard. Since this part of the top is going to be buried under the fingerboard, I
simply cut it away instead of trying to make a notch in the underside of the soundboard.
Here's the ledge on the guitar box itself. The purfling ledge looks wide as the ocean
while I'm routing it, but it fits just right.
Can you see the slight gap about 1/3 of the way from the right edge? That's the only
place it happened. On the back, I got several such gaps between the purfling (the thin
black-white-black veneer strips) and the binding (thicker rosewood strip with a maple or
holly veneer strip glued to one edge. Because it's all very dark, I hope to fill these gaps
with dark brown lacquer burn-in stick. When it comes to "finiting" I'll show that
process.
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LMI recommends bending the herringbone dry, and it bends quite readily, possibly
because the heat makes the glue let go a little and allows all the components to slide
around against each other slightly. The b-w-b also bends without a problem, but the
binding strip was a real pain. I bent the strips for the back dry, and had some cracks
where there was short grain in the strip; I was quite surprised to find that is wasn't
straight-grained like everything else supplied in the box, but took it as a lesson and went
on more carefully, soaking the binding strips before bending them for the face. Though
I was able to push the binding flush everywhere in a dry run, I got gaps in several places
on the back between the binding and purfling. I could not see these gaps while taping
the glued binding down, but there they were when I lifted the tape. This was the most
unsatisfactory part of the process so far. As I mentioned on an earlier page, I hope to be
able to fill these gaps with burn-in lacquer stick.
This fretting saw came from Stewart MacDonald. I've adjusted the side rider to the
depth I want the slots plus the thickness of the blade of the engineer's square, so it stops
cutting downward when the slot is 1/8" deep.
I had a good deal of trouble with the saw binding in the slot while cutting these. There is
little or no set on this saw (the teeth of a saw are are "set" by bending them to alternate
sides of the blade to make the cut a little wider than the thickness of the saw, to prevent
binding). I smeared a little Butcher's wax on the teeth of the saw, which helped, but it
had to be renewed after cutting every second fret. In one instance, the saw bound in the
slot, then bounded out of it, putting a deep gouge in the surface of the fretboard.
describe in words what's missing in the pics. After slotting for the frets, the shape of the
fingerboard is laid out on the fretboard blank and the blank is cut down close to the line
with the bandsaw and then trimmed to shape with a plane.
overhang while staying vertical to eat away the fret ends flush to the ebony. When the
ends are flush, the file is tilted and run along the ends of the frets to put a 30-degree
angle on the ends of the fret beads (the bead being the visible part of the installed fret
wire, while the tang is the part inside the slot).
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Week 12 June 4 - 13
The process of carving the neck was one of my favorite parts of this project so far. That
may go some way to explain why I didn't stop and take pictures between the beginning
and end of the process -- it was too relaxing and too much fun. C&N have a very good
pictorial series on this process, words for once having failed them to explain the carvin'
o' the neck. I'll have to wimp out and refer you to them for the pictorial steps. If you've
been following along, you'll probably be relieved that I haven't snapped in excruciating
detail!
Well, this is rather clever, isn't it? I got the
soundboard clamp and put the bolt
through one of the bench-dog holes in my
bench and through one of the tuningmachine holes in the peghead. This holds
the neck steady so I can use two hands to
operate the spoke shave seen in the
background and in the next picture.
I set about carving without attaching the heel cap. So here it is being glued on ex post
facto.
I told you I didn't stop to take pictures during the carving process. The peghead-to-neck
transition needs a little more work here, but not much. You can see the edge of the scarf
joint running across the peghead here.
I rounded over the corners of the peghead. It still seems to want an inlay, but I think I'll
pass up on that for a while. I may do it as a retrofit, if I think of something to put on it!
I agonized over what to use to finish the guitar. Everything seemed either extremely
difficult or toxic or expensive to equip for. I read dozens of articles about guitar
finishes. Shellac was attractive because it is non-toxic and requires more skill and
patience than costly equipment. I've always been shy of finishes in my woodworking,
tending toward oil and wax rather than anything sprayed or brushed. I also have had
problems with dust in my basement shops over the years, so something that basically
dries as you put it on is a plus. I settled on padded shellac as my finish.
Shellac applied with a pad is a very old, traditional finish for musical instruments. It
makes a very thin and flexible finish that will not scratch white and which can take a
high gloss. Shellac is either an excretion of insects that attach certain South Asian trees
or an excretion of the trees attacked by the bugs or a combination of the two -- there is
some controversy. The stuff is non-toxic; in fact shellac is approved by the U.S. Food
and Drug administration as a coating for
pills and candy.
The process of finishing with padded
shellac is often called French Polishing,
and the shellac dissolved in alcohol is
often referred to as French Polish. The
LMI handbook/catalog has two articles on
French Polishing giving two quite
different techniques, and Fine
Woodworking On Finishing has two
articles giving two more different
approaches. American Lutherie has some
more different advice in The Big Book Of
American Lutherie (Volume 2). I read
them all and picked the easiest one!
The pad in the picture is made of an old sweat sock rolled up and wrapped in a piece of
a cotton tee shirt. The pad is called a fad or a pad or a mueca or a tampon or a sock
wadded up in a piece of tee shirt. The shellac comes in solid flakes that must be
dissolved in pure grain alcohol (you can use denatured alcohol, but I really don't believe
in using denatured alcohol -- all it is is alcohol with poison added to it to make you
throw up if you drink it. I know I'm not going to drink it (and what if I did?), and I have
no children in the house, so why bother?). I got a glass jar and filled it about an inch
deep in shellac flakes (I got 'em from Woodworker's Club/Woodcraft) and put in
alcohol up to an inch and a half. I shook it and put it away for a few days, shaking it
whenever I thought of it. When I went to use it, I put it in a (brand new) mustard
dispenser so I could easily charge the pad
with controlled amounts.
The first step is to give the whole guitar a
wash coat of the shellac. This will serve
as a base for the filler on the rosewood
parts. I squirt a little polish onto the pad
and rub it in small circles on the surface
of the guitar body. According to the things
I've read, I never let the pad stop on the
surface, but "glide" it onto and off of the
surface. I rub until the pad is somewhat
dry and is just beginning to stick on the
surface, and then shoot a little more polish into it and go on. The resulting layer is so
thin that it lacks any tack to pick up dust, and is practically dry to the touch.
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"cleared" the pumice by mixing it on the pad with alcohol before just starting to rub it
in. This mostly went away over the course of rubbing and re-rubbing, but there are still
traces of it. This is one of the aspects of French polishing where the authorities disagree;
about all they agree on is that you do it with some kind of shellac. Some say put the
pumice in tiny amounts on the pad, squirt alcohol on it, and then rub it on a small patch
at a time. Others say sprinkle it on the wood, dampen your pad and go for it.
One thing I have learned well in this project is always to do dry runs of any operation
involving glue. On the dry run of attaching the neck, I found that the neck bolts were in
the way of the upper face caul. It needed another notch on the left in this picture.
The Bridge Routing And Drilling kit. Underneath is a piece of pine with to scraps of
spruce glued to it a a 1/8"-to-3" slope. This will orient the bridge blank at the proper
angle to the front edge of the pine block to have it slide along a fence on the drill press
while routing the angled slot for the saddle. To the upper left is the all-important scrap
of ebony into which I drilled test holes with the 13/64" brad-point bit. I put a little rim
on each hole with the countersink at right, and then reamed the hole with the #3 spiralflute taper-pin reamer above center. This makes a snug fit for the ebony bridge pin also
shown. Ain't it all just so complicated?
After the rasp it's all the different grits of sandpaper that I possess, followed by buffing
with a little cotton wheel on my Dremel tool. I don't recommend this method of buffing,
as it is too easy to slip the little wheel off the surface of the bridge and hit it with the
spinning collet. Good thing the ebony's so hard. Here with the appropriate chapter and
verse of the "Bible" for a background, is the finished bridge.
I read this clever tip somewhere about using a razor blade with the corners broken off
and a burr burnished onto it to make a mini-scraper for removing the finish under where
the bridge will go. Don't believe it. I burnished and burnished and couldn't get a decent
hook on this thing. In addition to that, a French polish finish is so thin that all you need
is a little hundred grit to get rid of it with much less damage to the underlying wood
than you get by scraping. Lesson learned.
pay much more attention to next time. I'm reading around in hopes of clues.
I was having trouble finding the last two items I needed, according to the sources I used:
a 3-M product called "Perfect It" and Meguiar's #7 Show Car Glaze. Both are Auto
Parts Store items, and as it turns out, both are pretty easy to find once you've found an
auto parts store. Astonishingly to me, I couldn't find such a store by simply driving
down Route 1. Not being much of a gearhead, I don't spend a lot of time fussing with
my car, and I haven't been to an auto-parts store since I moved to this town eight or so
years ago. I had a vague impression that they were just everywhere. I knew of two that
were located in places where parking was a nightmare, so I hoped to find one that was
more in my usual route of weekly chores. Due to my commute, finding one during the
week was out, and for a while, the weekends were full of social commitments.
To make a long story short, I found Meguiar's on the web and used their dealer locator
to find a dealer located somewhat nearby and this weekend (July 29; the guitar has been
strung up for a week) found the two items I needed early on Saturday morning. Using
them to polish the polished polish took about 45 minutes and made an incredible
difference. There are still flaws in the finish that will be lessons for next time, but now it
shines like...a new
guitar.
Also after these pictures were made, I spent time making adjustments, chasing buzzes in
the nut and the saddle, and compensating the saddle with different compensations for
each string -- you've seen the crooked saddles where the E string takeoff is at the front
of the saddle and the B string is back toward the pegs and the G further forward, with
the rest more or less evenly marching back again toward the pegs. It made a detectable
difference in intonation. I discovered that the approximately .15 inches that I added to
the scale length to get the rough compensation wasn't quite enough. At the rearmost
edge of the 1/8" saddle, the low E string is not quite far enough away.
When I first strung it up, I let go some of the tension in the truss rod to give the neck
some relief by letting it bend toward the pull of the strings. This relief gives the
fretboard a curve between the nut and the 14th fret that allows the strings room to
vibrate. After a week now the curve is getting more pronounced, so I will put a little
tension back into the rod. A few of the frets are showing a tendency to catch my fingers,
so I'll need to re-dress their ends. Many different small adjustments to make, but overall
the guitar is easy to play and has a rich, full sound. The bridge, I think, is too thick at
3/8" -- there's very little saddle under the two E strings -- so I might have to take it
down a bit. However, this is the most humid time of the year, and the top tends to crown
up with humidity, so I'm going to wait and see what happens in the fall and winter. I
may need to make a winter saddle when the strings come down too close to the frets. A
problem with the low saddle as it is now is that the angle the strings make going over
the saddle is so small that the pressure on the saddle is lessened, which lessens the
amount of volume and attack. A too-tall saddle (relative to the top of the bridge) risks
tipping forward under excessive string pressure.
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