#31
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Just the same it is a beautiful wood! And of course excellent workmanship! |
#32
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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
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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 |
#34
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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
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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? |
#36
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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!
__________________
"One small heart, and a great big soul that's driving" |
#37
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#38
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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.
__________________
(2006) Larrivee OM-03R, (2009) Martin D-16GT, (1998) Fender Am Std Ash Stratocaster, (2013) McKnight McUke, (1989) Kramer Striker ST600, a couple of DIY builds (2013, 2023) |
#39
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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! |
#40
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Sweet!
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
__________________
3 John Kinnaird SS 12c CUSTOMS: Big Maple/Cedar Dread Jumbo Spanish Cedar/WRC Jumbo OLD Brazilian RW/WRC R.T 2 12c sinker RW/Claro 96 422ce bought new! 96 LKSM 12 552ce 12x12 J. Stepick Bari Weissy WRC/Walnut More |
#41
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#42
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The first few pictures of the finishing process. It's going to look incredible.
Cheers, Mark |
#43
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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
__________________
"One small heart, and a great big soul that's driving" |
#44
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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
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Hey Todd, ya know, the neck is just your size too. |