Sexauer/'14

[Bruce Sexauer]

Originally Posted by Coffeeaddict

Bruce, I was going to say this thread is riveting, but I think it more accurate to say it is gripping..

Looks like we could form a real bond here!

[Coffeeaddict]

Originally Posted by Bruce Sexauer

Looks like we could form a real bond here!

A titebond??

[Bruce Sexauer]

Originally Posted by Coffeeaddict

A titebond??

Someone should tan your Hot Hide for that!

[Coffeeaddict]

Originally Posted by Bruce Sexauer

Someone should tan your Hot Hide for that!

Just don't go decking me..

[Bruce Sexauer]

If you don't mind, let's bag this vacuous attempt at bracing luthier humor.

I, after all, am trying to get some work done before the holiday that SOME of US have to observe tomorrow:

[Bruce Sexauer]

What else to say?

[reidplum]

Originally Posted by Bruce Sexauer

What else to say?

How about what woods are in this build? Give us a clue!

Reid

[Bruce Sexauer]

The top is Adirondack spruce, as I think I said. So is the bracing. The wood in the rosette is Koa, as will be the backstrip an the binding. The Tonewood is well known, and this is a classic example of the very best old growth at a quality level generally thought to be unavailable to mortals. It is quite expensive, highly sought after, and has recently become increasingly controversial in some circles. Historically, most luthiers AND most guitar players have preferred this Tonewood. I am not going to name it here, and probably no one else is going to either.

[justonwo]

Well it is clearly some kind of laminate.

[iim7V7IM7]

Bruce,

Nice wood...(pre-MCMXCI?)

I have noticed a few things regarding your builds that I would be interested to hear your comments on.

1) I see more pattern variation in back bracing than top bracing patterns (not commenting on shape). Can you discuss this process?

2) I know that you build lightly and I see that you don't use a back seam reinforcement strip. What is your thinking on this?

3) it appears that you attach your sides to the top first. Many luthiers do just the opposite. Why have you chosen this build sequence?

Thanks

[Bruce Sexauer]

Originally Posted by iim7V7IM7

Bruce,

Nice wood...(pre-MCMXCI?)

I have noticed a few things regarding your builds that I would be interested to hear your comments on.

1) I see more pattern variation in back bracing than top bracing patterns (not commenting on shape). Can you discuss this process?

2) I know that you build lightly and I see that you don't use a back seam reinforcement strip. What is your thinking on this?

3) it appears that you attach your sides to the top first. Many luthiers do just the opposite. Why have you chosen this build sequence?

Thanks

I have had this wood for almost ten years, and the guy I got it from said he'd had it for five more, and I don't know any more about it. It was a trade deal, no money changed hands, and there were no receipts. There were quite a few sets involved and this was one of the smallest which is why I'm using it on an 0.

1) I lay out all of my bracing patterns uniquely, both top and back. I have no templates, but I do have an ever evolving concept which I apply with complete flexibility. I would have said the backs were more similar than the tops, but but since every one is unique in each case you're as right as I am.

2) the Limba didn't have a reinforcement strip on its back, but nearly all do. The Limba was relatively pliable wood and joined perfectly AND, most importantly, didn't have a back strip. This guitar merely doesn't have the back strip reinforcement installed as of the last photo. I'll make sure to take another photo when it does, later today most likely.

3) Years ago, when researching for his book, Ervin Somogyi asked me what I do differently from other luthiers that might be of interest. I had no idea what anyone else did and couldn't answer the question. Then I started hanging here in the forums and I've learned a great deal about the styles and methods of other builders.

My off the top building style emanates from Spain, and is actually more common in classical guitar construction. The first luthier I was influenced by was Michael Dunn, and he had just returned from an apprenticeship on Mallorca. The first Lutherie book I saw was Irving Sloane's "Classical Guitar Construction", and it too used Spanish methods.

I don't know a lot about "off the back" construction, and it seems like the hard way to me. The Peone technique I use is integral to the my method, and is also so important to how I achieve my results that I simply could not abandon it.

[Bruce Sexauer]

I recorded a tune yesterday, rhythm and melody, with theLimba which after several listens embarrasses me less than it probably should. I tend to push my improvised solos too far, so they are simply never clean enough, but they are usually exciting, at least to me. This is "Home with the girls in the Morning".

Also, here's the pic with the center seam reinforcement going on:


While still considering what I do differently than others, I have notice that many put the seam reinforcement in first and then notch it for the braces. And others notch the braces over the reinforcement! I do it in my order first because I shape (tune?) the braces after gluing them on, and the reinforcement strip would be damaged if they were already there, and second because it seems simpler to fit the little pieces between the big pieces than the other way around.Notching the braces is simply insane.

[ewh2]

Have you had a chance to play the pear guitar again Bruce?

It sounded superb. I noticed it's on the longer side of things at just over 652mm (sorry, my head works in mm when it comes to scale!).

Was there any reason for the slightly longer scale?

[Bruce Sexauer]

Originally Posted by ewh2

Have you had a chance to play the pear guitar again Bruce?

It sounded superb. I noticed it's on the longer side of things at just over 652mm (sorry, my head works in mm when it comes to scale!).

Was there any reason for the slightly longer scale?

Perfect timing! I liked the last recording more than usual, and thought to re-record the melody track usng the pear just to illustrate any contrast. So here is the Pear over the Limba.

I think the Pear's scale is typical Martin 25.4, which I calculate as 645.16 mm.

Here's another picture of the new FT-0-JB/2's back just as I am about to close 'er up:

[iim7V7IM7]

Originally Posted by Bruce Sexauer

3) Years ago, when researching for his book, Ervin Somogyi asked me what I do differently from other luthiers that might be of interest. I had no idea what anyone else did and couldn't answer the question. Then I started hanging here in the forums and I've learned a great deal about the styles and methods of other builders.

My off the top building style emanates from Spain, and is actually more common in classical of guitar construction. The first luthier I was influenced by was Michael Dunn, and he had just returned from an apprenticeship on Mallorca. The first Lutherie book I saw was Irving Sloane's "Classical Guitar Construction", and it too used Spanish methods.

I don't know a lot about "off the back" construction, and it seems like the hard way to me. The Peone technique I use is integral to the my method, and is also so important to how I achieve my results that I simply could not abandon it.

Interesting...

After surveying many AGF build threads, I have always found that two divergent work methods existing fascinating. There are far more "off the back" luthiers than "off the top" luthiers (roughly 2/3-3/4 of builds are "off the back"). My two current custom builds that I have created threads on are both coincidently "off the top" builds.