#31
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That's a really nice neck blank Bob!! I would say only go with it though if it matches the back, not if it competes. The build is coming together wonderfully!
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#32
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Marcus, we are going to use it for sure.... We are just weighing different design options...
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A bunch of nice archtops, flattops, a gypsy & nylon strings… |
#33
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Small update
Bill and I decided that the figure of the fiddleback Honduran Mahogany neck blank was so beautiful, that it would be a sin not to go with a one-piece neck. The figure is slightly on the bias, but it will look gorgeous in-situ once its shaped.
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A bunch of nice archtops, flattops, a gypsy & nylon strings… |
#34
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Sorry, I got a little behind on your progress.
Is that a traditional flat back? it doesn't look like it's carved. You've mentioned gypsy style guitars a couple of times... seems like that's the closet relative of your new friend. Is that right? Is that some of the tone you are targeting? Do you have a good gypsy style guitar to compare? |
#35
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Quote:
As a result, this guitar has a carved top that has a thinner carved, flatter arch than a conventional archtop. That is why the top has carbon fiber reinforcement of the x-brace beneath bridge position, tone bars and finger braces. Unlike a traditional archtop that has 2-3/4"-3-3/8" constant depth rims, this guitar has varying depth (3" to 4-1/8") like a flat top or gypsy guitar does. The back is not carved, but is a ladder braced, bent plate. Take a look at the earlier posts in this thread. I also own a wonderful Grande Bouche made by luthier Bernie Lehmann.
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A bunch of nice archtops, flattops, a gypsy & nylon strings… |
#36
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Peghead sketch
Things have been moving ahead on the guitar. I will have some new photos to share shortly. Here is a "concept" drawing of the peghead design that Bill came up with. Since the guitar is going to be bound with Cocobolo he's also using it on the headplate veneer together with the fiddleback mahogany. Like the rosette, Bill will be reitterating the MOP triangle with a cast shadow (ebony on this one) with the purfling piecing it. The tuner buttons and TR cover will match the ebony fingerboard.
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A bunch of nice archtops, flattops, a gypsy & nylon strings… |
#37
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Oh yeah, that peghead will be perfect. Excellent idea, repeating the triangle.
Getting excited? Steve |
#38
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I have been so busy of late between work and travel that it honestly hasn't quite set in yet....
Back in January, after Bill closed the box, things shifted from the experimental "I hope so" to the empirical "its gonna be great" I definitely felt the "twinge" of excitement. Enthusiasm is infectious... Regarding the trompe l'eoill peghead triangle, yes I think it is a very cool idea in that it reitterates the rosette theme, create visual movement design wise and in a simplied way also pays a nod to the great torch pendants of the great archtops.
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A bunch of nice archtops, flattops, a gypsy & nylon strings… |
#39
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Update No. 4: Binding the "Box"
Bill has finished scraping the recurve and tuning the top now that it is purfled and bound. He has bound the "box" with a combination of b/w/b/w and Cocobolo. The gentle arch of the carved Carpathian Spruce top and recurve can be seen in these two images.
Here's some shots of the body back and sides displaying the beautiful figure of fiddleback Honduran Mahogany against the purfling and Cocobolo binding. The change in the recurve in the venetian cutaway is reflected in the binding profile. The rough carved, one-piece fiddleback Honduran Mahogany neck is seen mid-process, routed to accommodate a truss rod and carbon fiber reinforcement. The Ebony fingerboard can be seen also bound in Cocobolo.
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A bunch of nice archtops, flattops, a gypsy & nylon strings… |
#40
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Amazing is about all I have for this workmanship I'll add a Wow ! as well
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#41
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My thoughts exactly...
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A bunch of nice archtops, flattops, a gypsy & nylon strings… |
#42
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The mahogany back is incredible !
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#43
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Bob, it appears there is some purfling under the fretboard binding. Yes?
That is a nice little detail! The whole thing is looking wonderful. Steve |
#44
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Yes, Steve Bill does that on his guitars and it's a nice visual accent. My last archtop from Bill also has maple binding on an ebony fingerboard and he used B/W/B purfling between the binding and the Sugar Maple neck. You can just see it towards the right side of this image where the fingerboard binding visually meets the ebony finger-rest.
Thanks for the complement. we are both pleased with how it is coming together.. Post edit: I found a better shot of the side view of the fingerboard extension showing the purfling as described...
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A bunch of nice archtops, flattops, a gypsy & nylon strings… Last edited by iim7V7IM7; 02-19-2016 at 04:18 PM. Reason: Found a better shot |
#45
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You're right, that's a better pic. Don't have to squint with this one.
I really like how it "frames" the binding, side and top. It's a simple embellishment, but not that simple to do. There were some pains taken with this. Steve |