PETER OBERG - Classical (Western Red Cedar/Black Cherry)

[iim7V7IM7]

Glad that you are enjoying the show...The ebony will eventually become multiple rosette blanks.

Originally Posted by sachi

This is going to be fun to watch. What is the ebony for?

[iim7V7IM7]

It is interesting to look at why Peter chooses to laminate the Black Cherry sides with Port Orford Cedar (besides the wonderful smell it produces!). Looking at the plot below, you can see that it has similar stiffness to East Indian Rosewood but has 1/2 the density. It is also stiffer and lighter than the Black Cherry as well. The result will be light, stiff and dampening sides coupling the top and the back.

[iim7V7IM7]

Here are the laminated black cherry/port orford cedar sides. The cherry sides have already been profiled to receive the back. The POC needs to be planed down to the cherry edges.





Here is a spanish cedar neck block being glued up.



The end block is also port orford cedar.



Gluing the two blocks to the sides in a mold. Both neck and end blocks have been shaped to match the curvature of the sides in their respective areas.





Planing the sides and neck block. This is no small task. The shape of this edge, including the foot, has to allow the arched back to sit comfortably on the sides, while imparting a longitudinal curve as well. The body tapers approximately 1/4" from bottom to neck end.



Gluing in the solid poplar linings and notching them for the ladder braces.

[iim7V7IM7]

Carving the port orford cedar ladder braces. The aluminum guide sets the height of the scalloped ends. These ends fit into mortises in the linings.

Looking at Peter's right hand, you can also see that he is a dedicated classical player.







Notching the mahogany back reinforcement strip for the neck block. The strip must butt to the foot, and to the end block at the other end.



More when I get it...

[Bruce Sexauer]

It is amazing to me that the parts and their relative locations are completely familiar to me, but the means by which they become so, as well as their proportions, is astoundingly at variance with my own methods. I wonder which part of Rome this guitar will end up in?

[iim7V7IM7]

This has been removed.

[Steve Kinnaird]

Absolutely beautiful work.
Thank you for sharing!

Steve

[iim7V7IM7]

Originally Posted by Steve Kinnaird

Absolutely beautiful work.
Thank you for sharing!

Steve

You're quite welcome...

I think that you (and others) will continue to enjoy seeing Peter's clever work methods and the quality of his results.

It seems like steel string acoustic luthiers, classical guitar luthiers and archtop guitar luthiers all live in parallel but separate universes. When speak with each and ask "have you heard of so in so (insert well known name here) luthier?", I usually hear "no". I am happy to introduce Peter's work to the AGF Custom Shop audience.

[Mark Hatcher]

Very nice looking cherry! I'm interested in how it works out for you as a tonewood.

Mark

[iim7V7IM7]

Originally Posted by Mark Hatcher

Very nice looking cherry! I'm interested in how it works out for you as a tonewood.

Mark

That makes two of us Mark!

I wanted to give a medium density, moderate dampening, domestic hardwood like cherry a chance vs. the dense, glassy, tropical hardwoods that I typically gravitate towards. I have heard everything from superlatives, to similar to maple with some color, to it's totally "dead" from people that I know and respect regarding cherry. Peter seems to have a lot faith in it and is excited over the project (most classical clients want a rosewood guitar).

[iim7V7IM7]

In general, I see the tone of Cherry often described as falling between Maple and Mahogany. Some say that it contributes a more distinct bass and more midrange than Maple but has better clarity and balance than Honduran Mahogany. For those of you unfamiliar with the tonal contribution of black cherry as a back and side wood in guitars, here are some "quotes" from some AGF contributing luthier/posters on black cherry.

John Arnold:

"The density is similar, and the appearance is similar from a distance. But I don't think cherry sounds much like mahogany. The guitars I have built with it sound more like a maple guitar, especially in the bass. The trebles are a bit more extended, and are a bit fatter....but not as fat as the trebles of mahogany. I think cherry falls somewhere between maple and mahogany.."

Alan Carruth:

“Cherry is a great wood. I'd put the tone somewhere in the range of maple and walnut: not as 'transparent' as maple, or as 'dark' as walnut. "

Wilhelm Henkes:

"Cherry makes an excellent tonewood which is a little harder than (European) maple and sounds a little brighter and clearer. We used it for modern style guitars we built earlier but also for traditional guitars in the more recent past."

Tim McKnight:

“To my ear, the tone is both clean and articulate leaning toward maple with more sustain and clarity. Its not overly bright just crisp. IME it pairs well with warmer sounding soundboards like Sitka, Engelmann or Cedar. Its a highly under appreciated tone-wood for sure."

"Cedar is my favorite pairing with Cherry. IMO it has the right amount of warmth and sparkle to balance the tone."

Howard Klepper (this might be my favorite :-)

"Any tonewood combination sounds great if the guitar is built right. No tonewood combination sounds great if it isn't."

Because Peter has laminated the cherry sides with port orford cedar the sides really are a light/stiff (nice smelling) composite structure. The back is cherry and the top is cedar. I think it will be a guitar that has a balanced midrange without favoring the bass or treble, similar to a maple guitar but less "dry-sounding" with a clean and articulate timbre. It will make an exceptionally sweet sounding guitar, warm and clear.

[iim7V7IM7]

You can see the 'pre-rebate' shaping of the guitar back that Peter does. This allows him to scrape the sides without getting onto the edge of the back.


The black cherry back and sides are beginning to show some flame figure. Under the french polish it should be a stunner.


Here is the inside of the box. You can see the port orford cedar ladder braces, end block and sides,morticed solid poplar linings as well as the spanish cedar neck block.

[iim7V7IM7]

I removed this.

[iim7V7IM7]

Rosette and top.


Rosette inlaid (the insert beneath the fingerboard is spanish cedar).


Detail shot of inlaid and leveled rosette.


Inlaid and leveled.

[iim7V7IM7]

This is the clamping setup for the neck/head scarf joint.


Head piece and veneers. Brazilian/green/cherry. The piece on the right shows the color of cherry after oiling. The redder band on the bottom is the one.


Planing the head to receive veneers.


The clamping setup for the head veneers.