Quote:
Originally Posted by iim7V7IM7
Bruce,
Nice wood...(pre-MCMXCI?)
I have noticed a few things regarding your builds that I would be interested to hear your comments on.
1) I see more pattern variation in back bracing than top bracing patterns (not commenting on shape). Can you discuss this process?
2) I know that you build lightly and I see that you don't use a back seam reinforcement strip. What is your thinking on this?
3) it appears that you attach your sides to the top first. Many luthiers do just the opposite. Why have you chosen this build sequence?
Thanks
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I have had this wood for almost ten years, and the guy I got it from said he'd had it for five more, and I don't know any more about it. It was a trade deal, no money changed hands, and there were no receipts. There were quite a few sets involved and this was one of the smallest which is why I'm using it on an 0.
1) I lay out all of my bracing patterns uniquely, both top and back. I have no templates, but I do have an ever evolving concept which I apply with complete flexibility. I would have said the backs were more similar than the tops, but but since every one is unique in each case you're as right as I am.
2) the Limba didn't have a reinforcement strip on its back, but nearly all do. The Limba was relatively pliable wood and joined perfectly AND, most importantly, didn't have a back strip. This guitar merely doesn't have the back strip reinforcement installed as of the last photo. I'll make sure to take another photo when it does, later today most likely.
3) Years ago, when researching for his book, Ervin Somogyi asked me what I do differently from other luthiers that might be of interest. I had no idea what anyone else did and couldn't answer the question. Then I started hanging here in the forums and I've learned a great deal about the styles and methods of other builders.
My off the top building style emanates from Spain, and is actually more common in classical guitar construction. The first luthier I was influenced by was Michael Dunn, and he had just returned from an apprenticeship on Mallorca. The first Lutherie book I saw was Irving Sloane's "Classical Guitar Construction", and it too used Spanish methods.
I don't know a lot about "off the back" construction, and it seems like the hard way to me. The Peone technique I use is integral to the my method, and is also so important to how I achieve my results that I simply could not abandon it.