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  #16  
Old 10-07-2011, 12:16 PM
gregc gregc is offline
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Nice build thread. I always love them. The guitar is sure to be a beaut. You can't go wrong with the McKnights. Awesome folks
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  #17  
Old 10-07-2011, 02:22 PM
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Originally Posted by bk314159 View Post
Hi Phil - Thanks. I take it you have an order with the McKnights or are thinking of one.
Yep - I'm on the list. Tentative Healdsburg 2013 delivery, but that's flexible. SDG (Tim's new body), '59 Sitka over 'tree' mahogany, theme chosen but unannounced, details still in vitro.

Now, back to your reality!!

Thanks,

Phil
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  #18  
Old 10-07-2011, 05:53 PM
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Kyle, you are so right! I tend to pick the Cocobolo up by the edges. Kurt discovered I was allergic to his Petosky stone guitar. I understand the need to wear a mask more often.

Bruce's guitar is coming together very smoothly. However, occasionally we get a guitar with a glitch. I will save the agony of bringing it back up, but feel free to ask our Healdsburg brothers.
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  #19  
Old 10-08-2011, 08:17 AM
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Mary - I didn't know about your allergy to Cocobolo (thanks Kyle). Sorry about my choice (but I do love the look). How long before it's sealed?

Thanks Greg and I totally agree with you about the McKnights!

Phil - your guitar sounds wonderful. I know you'll have fun with Mary and Tim figuring out the details.
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  #20  
Old 10-08-2011, 08:23 AM
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Kyle, you are so right! I tend to pick the Cocobolo up by the edges. Kurt discovered I was allergic to his Petosky stone guitar. I understand the need to wear a mask more often.
<deep sigh> Every time you bring this up, I begin to feel guilty about my guitar and the cost to you folks for the new ventilation system!
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  #21  
Old 10-08-2011, 12:06 PM
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Your guitar won't be sealed for quite some time. It is much easier for me to handle since your guitar is being built in fair weather. We open shop doors and I can walk around as if I own the place.

Kurt, if you wouldn't have ordered the first cocobolo custom built I may have never known about this allergy. Remember how I use to "lick" the wood to test the final color? Bad, bad Mary. Not smart in the least.
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  #22  
Old 10-08-2011, 12:43 PM
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You used to actually lick the wood? Yes, I can see where that miht be a problem for you - like me heading to the woods to find some poison ivy to lick!

cotten
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  #23  
Old 10-08-2011, 06:29 PM
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It didn't take long for her lips and tongue to swell. It looked like a very bad Botox lip job ;(
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  #24  
Old 10-08-2011, 07:27 PM
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It didn't take long for her lips and tongue to swell. It looked like a very bad Botox lip job ;(
I don't think I've ever seen a good one!

Hey, new business venture idea: Cocobolo lip gloss to "enhance" the presence of your lips. I bet it would be a smash in Hollywood!


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  #25  
Old 10-08-2011, 08:10 PM
Neil K Walk Neil K Walk is offline
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Errrr, uh this thread is slipping into um... "uncomfortable" territory.

Better post more pics of wood. Cotten's pic is kinda like a pinup. That Zirocote certainly is pretty, as was John Kitchen's former cocobolo/redwood Highlander. Anyone interested in Tim and Mary's guitars should really do themselves a favor and sample their wares if they are able. Lord knows they've been tempting me for years now but I've been coy!

BTW bk, forgive me if I missed it but is that a solid redwood top or is it a double top combined with another tonewood? You said that the sides are zirocote and walnut double sides. Did you elect to go with a matching double back?
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  #26  
Old 10-09-2011, 11:43 AM
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Neil, he has a single back. The glue was applied a few minutes ago. Thee back and sides are in the wood room under the go bar becoming one piece as I write.
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  #27  
Old 10-09-2011, 02:18 PM
bk314159 bk314159 is offline
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Hi Neil - I have a solid redwood top. I love the look and sound of Redwood. I believe I asked Tim if it made any sense to do a double top of Redwood and Redwood, and he said he didn't see the point. Tim, please pipe in if I'm wrong. As Mary said, the back is a single back since I don't hold the guitar against myself generally.

But let's get back to the photos:



Tim is marking the border of the top. I just love the look of the Ziricote with the Redwood:



The deflection weight lets Tim know the stiffness of the top. Tim - what will you do with that information? Mary also wrote to notice the rosette. Thanks Mary for all the comment with the photos:



The main back brace is glued:



Tim has the carbon fiber rods in place:



Tim preparing more bracing for the back:



And lastly what I believe will be the backstrap headplate (am I right about that?):



I was told that I would receive a lot of photos from Mary, but I can't keep up. Just as I started this post, my e-mail program alerted me that Mary sent more. I'll try to get them up later this afternoon.

Thanks Mary and Tim, and thanks everyone for taking a look.

BK
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  #28  
Old 10-09-2011, 03:19 PM
bk314159 bk314159 is offline
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Hi again. Here are some of the photos from the last group that Mary sent me.

First is a "before" picture of my rosette:



and an "after" shot (I love it!):



Tim starts to shape the back braces:



On behalf of all guitarists we'd like to thank all the luthiers for the peril they expose their body parts to when building guitars for us. I know Tim practices the utmost safety, but I don't think I've ever seen any luthiers' hand without some sort of cut or gauge:



Mary wrote: "he will chisel each end and scallop each brace to achieve a special tone.":



Tim - don't you ever get tired of sanding?



The box is pre-fitted to the back:





Excess glue will be removed in a few minutes:



Fitness - Mary threw in this picture of Tim calling you! Mary - I didn't know there would be commercial breaks. (What are the odds of Todd catching this?):



I just found out that we're limited to 10 photos per reply so I'll post this and start anew.

BK
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  #29  
Old 10-09-2011, 03:26 PM
bk314159 bk314159 is offline
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Tim's making my cocobolo binding. Danger Mary - stay away:



Of course does Mary listen? No and look who makes her first guest appearance. Does that mean Tim is now in charge of the camera?

Mary is taping binding and purfling together. Mary - that's cocobolo! Where are your gloves?



Always the trooper, Mary won't quite until the job's done. Tim - keep an eye on her tonight.



And now I think I'm caught up. Thanks all for taking a look.

BK
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  #30  
Old 10-09-2011, 07:00 PM
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Tim McKnight Tim McKnight is offline
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Bruce,
I thickness each back to a desired stiffness and not to a given thickness dimension. I measure how much the top (and back) bow or "deflect" under a standard weight. This measured deflection of each piece of wood tells me exactly how stiff the top or back is. I keep running the top & back through my thickness sander, gradually removing a few thousandths of wood per pass and then repeating the deflection measurement until it bows or deflects a certain distance. This way all of my backs and tops are thicknessed to a desired stiffness regardless of the thickness. I have built with extremely stiff tops that measured -.080" and I have also used "floppy" tops that were +.140" thick yet both had the same stiffness measured on my deflection board. This just proves how much natural inherent variation there is in wood.

"Tim don't you ever get tired of sanding?" Yes, I do Bruce and I often ask myself why in the world do I sand the interior parts of the guitar that no one will likely ever see or touch. The only logical answer I can muster is "because its the way I am wired".

The two carbon tubes are braces that take the rotational torque load off of the neck block. As the strings exert pull on the neck the resulting force is trying to rotate the neck block and entire upper bout end of the guitar in an effort to make to collapse the top into the sound hole. This force will eventually allow guitars, without supports like these, to deform which results in a need for a neck reset. The carbon tubes transfer this rotational force to the waist which is the stiffest point on the guitar. It is highly unlikely that guitars with this truss brace design will ever need a neck reset. It makes the upper bout system extremely rigid without negatively influencing the movement of the soundboard.
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