07-13-2011 01:30 PM
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07-13-2011 08:59 PM
07-14-2011 03:00 PM
07-14-2011 06:24 PM
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07-14-2011 08:34 PM
07-14-2011 09:54 PM
I hated working with the spalted maple. "Spalted" is just a euphemism for rotten and mold spore infested. Besides crumbling and emitting poisonous mold spores all over the place, it has density that varies from spongy to maple-hard. I found it impossible to cut or sand the stuff to get a straight edge. So I'm going to try again with Amboyna burl. If it works, maybe I'll try to get some orange/red color in the binding. For now, I'm deferring those decisions. While most builders pick a center strip for the back at join time, this luthier is happy to route a channel later. He says routing the channel also provides a better gluing surface than the join method.
Whats the binding going to be? More maple to match the rosette? How about the back strip?
Yeah, I recognize my hero in the pic. I think he used to be an English major, so he presents his material with some flair and eloquence. Some people think his guitars are pretty good too.
BTW, gitnoob, do you recognize this fella?
07-16-2011 01:49 PM
07-16-2011 01:59 PM
07-16-2011 02:47 PM
I hand-thicknessed the top today. Quite a workout. I took it down to a little less than 3mm (about 0.11") and it's still pretty stiff. Somogyi would make it much thinner (about 2mm / 0.085") or until it readily bends longitudinally. I'm afraid to go that thin.
I'll do final thicknessing once the top is on the box, and then the plan is to thin the plate as it goes toward the edge (i.e., thicker in the middle, thinner at the rim).
And I think I have a workable bracing pattern. That Somogyi above is a dread, so I found a Bashkin (who studied voicing under Somogyi) 00 as a more appropriate model.
07-16-2011 03:36 PM
I'm still learning this stuff myself, but here's my understanding so far: Think of the top as vibrating in three ways: pumping up and down, rocking side to side, and rocking top to bottom. How you brace it determines how freely it can move in each of those three modes. The X is the main brace, and it supports all three modes. The thinner the ends of the X, the more the top can move in the up and down pump mode, which determines the bass response. So some builders stop short of the kerfed lining to free up the top. Others tuck the ends into the lining. The thickness of the tucked ends is important, but tucking will both stiffen the rim and help keep the braces on the top. For the most part, it's just the gluing to the top that keeps the braces there. Now, if you consider the X the main brace, it's then up to you to decide if you want the other braces to work in concert with the X or independent of the X. In the example above, the finger braces are tightly coupled to the X, so they'll rock the top especially in the side-to-side and top-to-bottom modes -- the higher frequency response. The lower face braces are uncoupled from the X, so they will be driven directly by the bridge. They are arranged to maximize side-to-side movement and they add stiffness mostly in the top-to-bottom mode. Similar to fan braces in classical guitars. Fun stuff, eh?
I'm intrigued by those small braces on the lower bout of the Bashkin by the bridgeplate (I suppose inspired by my recent experience with the Sigma). They seem to be floating. I've always assumed--wrongly, I guess--that they needed to be affixed to a larger brace. How do you plan on securing them? Would simply gluing them to the top suffice?
07-16-2011 08:12 PM
07-17-2011 05:15 PM
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