#31
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Manifesting John Kinnaird...
I am humming that E...
He seems a bit busy now. I can chime in on the laminated LININGS. Someone set me straight about "kerfing" on one of the build threads JK did for me. Seems a bit pedantic but accuracy is our goal when communicating! The solid linings add MUCH more rigidity to the sides. That allows a more lively top. Think vintage drums. Thin sides with solid rims. It seems to work! Something in John's pixie dust sure does!!! On my last build he did double sides which are so rigid already he used reverse kerfed linings. Perhaps due to the weight reduction of the BIG bevels. John, when you do show up here feel free to correct me if I am wrong! Cheers Paul
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4 John Kinnaird SS 12c CUSTOMS: Big Maple/WRC Dread(ish) Jumbo Spanish Cedar/WRC Jumbo OLD Brazilian RW/WRC Big Tunnel 14 RW/Bubinga Dread(ish) R.T 2 12c sinker RW/Claro 96 422ce bought new! 96 LKSM 12 552ce 12x12 J. Stepick Bari Weissy WRC/Walnut More |
#32
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Quote:
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PS. I love guitars! |
#33
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Those linings are glued on. No splitting. It will form the foundation for additional arm bevel support (which will be kerfed) in the lower bout and strengthen the upper bout where the sound port penetrates the sides. The other side of the guitar will have lining which is less deep. Assymetry is rampant. Arm beveles and, cutaway, and that assymetry is reflected inside
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Kinnaird Guitars |
#34
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Why I use laminated linings
Almost every luthier has found a system that works for them. Bruce uses tantalones and Bogdanovich states in his book that he got a better sound when he abandoned tantalones and went with solid linings. The first book I ever read on the subject of guitar making was called Guitar Making and it was written by Art Overholtzer. He uses tantalones and won a prestigious guitar making award. Are there any commonalities in all these makers or are linings a non issue and differences an effect of other factors.
My personal experience is that the sound of my guitars has improved since I began using solid linings but I do not think it is due to the lining per se but rather due to the fact that i do not require the back or the top to exert any control on the shape of the sides. In fact when I glue on the back and top the guitar is no longer in the mold. I share that building technique with Bruce and Art overholtzer who flat stated that the worse sounding guitars he made were made using an outside mold. So, not to get too pedantic, I use the laminated linings to maintain the shape of the guitar so that I can work with it "in the air" (to quote a luthier we all admire) when fastening top and back. There are other techniques. Laminated sides, and even reversed kerfing to a degree all will add rigidity and solidify the shape of the sides. Whatever the method you know you're good if the sides don't spring out of shape when they are removed from the mold. Thats my take. Opinions may vary.
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Kinnaird Guitars Last edited by j. Kinnaird; 11-28-2017 at 09:11 PM. |
#35
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I did wonder if the depth was to accomodate an arm bevel but it was the fact that the depth continued into the upper bout that fooled me.
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#36
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#37
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Yes, that is how it's done. I typically use either Spanish cedar or eastern red cedar
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Kinnaird Guitars |
#38
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Can I assume you are using Cedar because it is one of the lightest woods available? Or do you feel the Cedar itself has a Sonic purpose as well?
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#39
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Yes. Both reasons.
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Kinnaird Guitars |
#40
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OK, so I was going to share these details later, but I am really excited about what John is doing and want to post the latest. For some time, John has been thoughtfully deliberating on what kinds of accents would work well with the unique Pau Santo and some other things (can’t tell yet) we’re doing on the top. I am super happy with what John has come up with, for the backstrip. Here are a couple photos, slightly askew because the back is not yet really assembled. He used purple heart, cocobolo, another rosewood (which auto-correct mangled), and spalted maple. I like the cameo because it suggests a mountain profile. John and I live on mountains that kind of resemble each other, and I love mountains the way I love trees and guitars.
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#41
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That really looks nice!
Love the greens in the Pau Santo and the contrast with the backstrip elements is really cool. Great stuff, John!
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2013 Stehr Auditorium (Carpathian/Myrtle) 2015 Stehr Auditorium (Adi/BRW) 2020 Baranik Meridian (Blue Spruce/Manchinga) 2020 Wilborn Arum (Tunnel 14/Coco) 2021 Kinnaird Graybeard (BC Cedar/Bog Oak) 2022 Kinnaird CS Student Build (Adi/Padauk) 2023 Kinnaird FS (Italian/Koa) |
#42
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So I am assuming, the "cameo" is not an inlay built to look like mountains, but a piece of wood John found that looks like that naturally! Wow.
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PS. I love guitars! |
#43
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Wow, art, I love it!
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Dump The Bucket On It! |
#44
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Cedar Linings
Not only is cedar very light, but it smells yummy, and keeps moths from setting up shop in your guitar!
Hey John. Is that cameo some of your spalted yard Maple? This is looking real sweet! Cheers Paul
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4 John Kinnaird SS 12c CUSTOMS: Big Maple/WRC Dread(ish) Jumbo Spanish Cedar/WRC Jumbo OLD Brazilian RW/WRC Big Tunnel 14 RW/Bubinga Dread(ish) R.T 2 12c sinker RW/Claro 96 422ce bought new! 96 LKSM 12 552ce 12x12 J. Stepick Bari Weissy WRC/Walnut More |
#45
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It's two pieces of wood, spalted maple that looked like mountains and sky and burle d Honduran rosewood that provides the swirled foreground
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Kinnaird Guitars |