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  #31  
Old 01-01-2018, 10:56 PM
LouieAtienza LouieAtienza is offline
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Originally Posted by D.Kwasnycia View Post
That could be. It also goes by the names Macacauba, Macawood, and orange Agate. The name Granadillo, may be a more failure name for some. It's scientific name is Platymiscium spp, but there are variations of this. Some of which are not known until the tree is cut, since they look identical.
One guarantee that it will draw attention is to name it "[insert south American country here] rosewod" like they seemingly done with every other hardwood

Just the same it is a beautiful wood! And of course excellent workmanship!
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  #32  
Old 02-05-2018, 01:18 PM
markallen markallen is offline
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Dennis continues to work his magic on this wonderful baritone. He has been shaping the headstock, adding the overlay and working on the fingerboard. I'm really looking forward to this one.
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  #33  
Old 02-09-2018, 09:24 AM
markallen markallen is offline
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Dennis sent over a few more pictures of this build's progress. I think it's looking great.

One of his "signature" features is a magnetic locking system for the truss rod cover. I've always thought this is such a classy way to approach the cover. Just one of those little things that put his guitars over-the-top in my opinion.

Cheers,
Mark
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  #34  
Old 02-17-2018, 06:49 PM
markallen markallen is offline
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This weeks pictures (Well, actually last weeks, but I'm just getting them posted today). Just about ready for finishing.
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  #35  
Old 02-18-2018, 08:14 AM
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Tim McKnight Tim McKnight is offline
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What a strikingly beautiful guitar guys. Dennis please tell me more about this picture:



Do you leave your truss rod loose, insert it after the FB is glued on, bed it in silicone or another adhesive? Was the FB already glued in this picture or was it a picture just trying to trick my inquisitive mind? I always find it interesting to see how other builders approach similar tasks. Obviously there are lots of paths to the final destination, eh?
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  #36  
Old 02-18-2018, 09:12 AM
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Originally Posted by Tim McKnight View Post
. Obviously there are lots of paths to the final destination, eh?
Is this a hidden metaphor for life??

I agree, this guitar is going to be gorgeous under finish. I had a set of Hormigo here a while back but it wasn't nearly as beautiful as this one!

My guess is this wood combination will do an incredible job with the frequencies of a baritone!
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  #37  
Old 02-18-2018, 09:25 AM
D.Kwasnycia D.Kwasnycia is offline
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What a strikingly beautiful guitar guys. Dennis please tell me more about this picture:



Do you leave your truss rod loose, insert it after the FB is glued on, bed it in silicone or another adhesive? Was the FB already glued in this picture or was it a picture just trying to trick my inquisitive mind? I always find it interesting to see how other builders approach similar tasks. Obviously there are lots of paths to the final destination, eh?
Hey thanks for your comments Tim, I appreciate it. The finger board is already glued in place. the truss rod is inserted and snugged up, but left out during the finishing process. Right after the finger board is glued on, I will run the truss rod back and for a couple time to make sure there is no glue squeeze out to get hung up on. Once the guitar is finished I will insert the truss rod and just give it enough tension to keep it's self from moving. This truss rod is very smooth and really only has a quarter turn of tension on it for the right amount of relief. I do it this way that if there is any possible chance of a truss rod malfunction it can just be removed easily and replaced at only the cost of another truss rod, really no labour involved. It's something I have always done from the beginning. since I laminate my necks, I have come across a couple that were not willing to give relief. The ability to revers this rode the other way to give relief, has saved me a couple of times. The main thing is the ability to do maintenance if needed without the fear of a truss rod stuck in a neck and the cost that comes with that.
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  #38  
Old 02-18-2018, 09:48 AM
Neil K Walk Neil K Walk is offline
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Originally Posted by D.Kwasnycia View Post
Hey thanks for your comments Tim, I appreciate it. The finger board is already glued in place. the truss rod is inserted and snugged up, but left out during the finishing process. Right after the finger board is glued on, I will run the truss rod back and for a couple time to make sure there is no glue squeeze out to get hung up on. Once the guitar is finished I will insert the truss rod and just give it enough tension to keep it's self from moving. This truss rod is very smooth and really only has a quarter turn of tension on it for the right amount of relief. I do it this way that if there is any possible chance of a truss rod malfunction it can just be removed easily and replaced at only the cost of another truss rod, really no labour involved. It's something I have always done from the beginning. since I laminate my necks, I have come across a couple that were not willing to give relief. The ability to revers this rode the other way to give relief, has saved me a couple of times. The main thing is the ability to do maintenance if needed without the fear of a truss rod stuck in a neck and the cost that comes with that.
Interesting. I’m just a hobbyist but am inspired by yours and Tim’s builds. I’ve made 3 laminated neck blanks over the past few years and have my opinions on them (both good and bad) but the aesthetic is undeniably attractive. I’d love to hear your observations and considerations with regards to the behavior, specifications and qualities of the wood some time if you’re willing.

Without detailing the course of this discussion however, have you found that the headstock truss rod access point offers certain advantages over soundhole access - both for this purpose and in general functional and aesthetic considerations? FWIW inserting the truss rod is always one of the “scarier” points in the build and IMO is an early point where the process threatens to go “off the rails.” I like your solution but have thus far installed double action LMI truss rods with the access point inside the body. I may reconsider this now.
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  #39  
Old 02-18-2018, 11:30 AM
D.Kwasnycia D.Kwasnycia is offline
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Originally Posted by Neil K Walk View Post
Interesting. I’m just a hobbyist but am inspired by yours and Tim’s builds. I’ve made 3 laminated neck blanks over the past few years and have my opinions on them (both good and bad) but the aesthetic is undeniably attractive. I’d love to hear your observations and considerations with regards to the behavior, specifications and qualities of the wood some time if you’re willing.

Without detailing the course of this discussion however, have you found that the headstock truss rod access point offers certain advantages over soundhole access - both for this purpose and in general functional and aesthetic considerations? FWIW inserting the truss rod is always one of the “scarier” points in the build and IMO is an early point where the process threatens to go “off the rails.” I like your solution but have thus far installed double action LMI truss rods with the access point inside the body. I may reconsider this now.
Hey Neil, In regards to the laminating of the necks, I first fell in love with Jim Olsons design and so loved the look, implemented it into my guitars right from the beginning. I had no idea how it would effect tone and found the characteristics of the neck helped with sustain for one, but also I found the reliability of the necks, to rarely need tuning between play times. It proved to just be a very stable neck. After years of using a dove tail neck joint, I found switching over to a bolt on, there was no need for steel or aluminum plates to be inserted into the heal of the neck from finger board to heal tip like found in most Mahogany only necks, and it gave a good strong anchoring point on it's own. The Rosewood and Maple centre have plenty of integrity to allow the metal anchors I use, so this simplified construction.
Are there advantages to headstock over soundhole access points? I think it's a mater of preference really. For me, the whole thing about having a removable truss rod in the beginning was to be able to simply remove it without having to pull the neck off for one. the other was, I hate having to remove a neck from a body that has an access point from the neck joint to the body cavity. If Im steaming the neck off, there is always some steam that gets into the body cavity, no mater how many rages you get in there. When this happens, there is always a great chance of damaging the finish, loosening glue joints and staining the wood, making for an ugly job and a lot of extra work. In that thinking, I just kept it on the headstock, except for those guitars with slotted headstocks, then you have no choice in the mater. The other thing is length of truss rod. Depending on construction of the guitar, some put the truss rod close to the neck block, where others extend it to just behind the main brace behind the sound hole. The one that has the adjustment close to the neck block, you have to reach inside the guitar to adjust, unless you have a long extended Allan wrench. If the hole goes through the brace to access it, it can weaken the brace. The other located just behind the brace, still has an access hole thought the brace, weakening it, but also has extra truss rod length coming out of the neck and can when put under tension, add extra pressure under the finger board extension. At least this is my findings and others may disagree, that's ok too.
One last thing, most have seen the head stock/neck cutaway what shows to have not much material left under the truss rod and making the neck week at that point. I agree this is a problem with some guitars. Paying close attention to the depth of the slot and how the back of the neck transition, headstock to neck is done, still makes for a good solid construction, especially when laminated. I have tested mine and found I could not brake it under normal tension and ya, even jumping up and down on it.
Hope I answered your questions, if not, don't feel you can't ask. Asks away!
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  #40  
Old 02-18-2018, 12:25 PM
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What a beauty! I thought the neck block looked like One of Tim's. Anything that lightens guitars AND makes them stronger is great IMHO.

I have recurring gigs where I go room to room for folks who can not get out. The lighter the guitar the easier the gig!

Thanks for sharing this beautiful build.

Cheers

Paul
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  #41  
Old 02-18-2018, 12:36 PM
D.Kwasnycia D.Kwasnycia is offline
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What a beauty! I thought the neck block looked like One of Tim's. Anything that lightens guitars AND makes them stronger is great IMHO.

I have recurring gigs where I go room to room for folks who can not get out. The lighter the guitar the easier the gig!

Thanks for sharing this beautiful build.

Cheers

Paul
Thank you Paul, I'm with you on having a light guitar. I have to say, this one is very light!!
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  #42  
Old 02-23-2018, 09:57 AM
markallen markallen is offline
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The first few pictures of the finishing process. It's going to look incredible.

Cheers,
Mark
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  #43  
Old 02-23-2018, 10:29 AM
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When he strings that up and gives it the first strum I'll probably be able to hear it across the water in MI
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  #44  
Old 02-23-2018, 10:51 AM
markallen markallen is offline
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When he strings that up and gives it the first strum I'll probably be able to hear it across the water in MI
I'm really looking forward to this one. I have a good friend and former employee who retired from Seattle to Bay City MI, and I'm actually thinking I may make a trip out that way and visit him and pick the guitar up in person. I'm sure it would be a great experience.
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  #45  
Old 02-23-2018, 11:10 AM
D.Kwasnycia D.Kwasnycia is offline
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When he strings that up and gives it the first strum I'll probably be able to hear it across the water in MI
Oh that's too funny. I can see it now, the people in Michigan. WHAT IS THAT!! HA, CANADIANS!!

Hey Todd, ya know, the neck is just your size too.
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