Bruce builds without the use of molds (in the air). The two blocks are adhered to the top before the rims are bent. The rims are bent without the aid of molds. He also uses individual Spruce peone to create his top linings vs. a continuous kerfed Spanish Cedar or Mahogany linings. Look over a few of his build threads and it will become clear.

Sure, I had forgotten he does not use molds. I follow all his build threads. I knew about the peone linings as well. I had just not seen a photo of the end blocks glued to the top before. Now as you mentioned no molds, I suppose those end blocks give him an anchor when working with the rims.

Sure Tom...:up:

Here are my '014 and '015 Sexauers on Bruce's bench glued to the end blocks with the sides bent ready for linings.

http://i1238.photobucket.com/albums/...psa1dcwvhq.jpg

I favor the Martin proportioned graft. Were it continued it wold only go a few more inches before it vanished, and I need 20" more. So, to have the taper be the continuous, I'd either have to make the graft very wide or the taper very shallow. I use 2 tapers that cause their purflings to meet in the binding somewhere.

I inlay my back strip into a joined back. Otherwise, if they were were part of the glue-up, the back strip would have to be machined with 2 absolutely straight non-parallel edges, and I have no easy idea how to do that. Instead, I inlay the back strip imperfectly, and then inlay the purflings in individual channels which I can machine very accurately.

At this point the sides are bent, and I have glued in the third block which supports the cutaway join. Although it is called a cutaway, it is actually the first part of the sides I install, and here you can see that happening.

http://mojoluthier.com/LP17/Dream/cutawayblock.jpg

I find this building system so easy to do, and then there's the fact that it gives me more control over the design (one size or shape is as easy as another) and many other aspects of the outcome, it is surprising that more observers have not been inspired to adopt this method. Did i mention that it is also much quicker and requires almost no fixturing?

It appears that third block is considerably taller than the sides - I'm sure there's a reason, but it's not clear to me -

I guess I am psychic, but that wasn't a prophecy, just a mistake. Just one guitar going to Dream Guitars. For now.

Angles
 

Bruce, how do you build the top arch in? I am guessing cut a 1.5ish degree angle into the blocks so they are vertical in the workboard (which I assume is arched). But then there are the sides, you don't have the luxury of using a dish on those before gluing the top.

It is probably simpler than you think. The workboard IS the dish. The sides only need contact the dish at three points, the ends (where they glue to the blocks) and the waist, the deepest part of the workboard/dish being used. I calculate this depth (put a straight-edge across the dish and measure the gap where the waist will be and subtract a hair) and then set the jointer up to make that depth of cut from both ends, making sure to stop a couple of inches before the waist point. There is no reason for the sides to actually fit the top as the peone make the connection, and the "gap" gets cut away in the binding ledge routing anyway. I use a very shallow dish, so on a wider guitar like this the jointer cut is only 3/64" or so. The goal is for the side to be plumb: perpendicular to the plane of the top, as if there were such a thing.

I actually make the peone 1.25 degrees over square, but your guess is very close.

Here is a picture, but you'll have to look carefully to see the relief cut into the sides either side (the waist is the center, so above and below as pictured) of the waist:

http://mojoluthier.com/LP17/Dream/waist.jpg

I am one of the inspired. Other than the first set of guitar bodies I built with a outside mold I have been using the same method to do the basic box. Although I have been bending mostly on forms with a blanket I have also bent a few on a pipe. I showed my sister a partly built box (for her son in law) and she saw the tentalones and exclaimed they are like her tiles. She is a mosaic artist and she related to it in realizing it must take a while to place all of them, something I find relaxing.

I see the way Bruce builds as an extension of how instruments were built previous to modern factory techniques. Other than using a dovetail joint (of violin heritage) the the way he builds the guitars is not very different than classical guitars that were built with Spanish Heel construction. Other than a router and I am guessing a drum sander (can't remember if Bruce has one, don't think he mentioned it in the Custom Shop) I don't think he builds much different than what would have been done 150 years ago. Oh almost forgot, he does use a table saw to do his fret slots, he has come up with a unique jig to do his slots.

Yes, I build entirely without out power tools . . . except for 8 routers and a pin router, a table saw, 2 bandsaws, three stationary sanders plus a double drum thickness sander, a jointer, a planer. and neither last nor least, an assortment of battery powered screwdrivers.

I do consider my table saw fretting system to be my single cleverest lutherie related development. If more people would take up lutherie, I could likly make a living selling it. That's not going to happen, but if anyone wants one, I do have extras of the critical part available for a modest fee.

Here are two shots of what I am now calling the Tad-block, first cut to length, and then shaped. The clamps are securing the last piece of side mitered to the first piece.

http://mojoluthier.com/LP17/Dream/tadsblock1.jpg

http://mojoluthier.com/LP17/Dream/tadsblock2.jpg

Actually wanted to highlight more your assembly method rather than tools and that you could build as good a guitar without jigs and such. But as you mentioned it I do recall you having two bandsaws, never meant to imply you resaw your wood with a frame saw.

Reminds me of when I once asked my mother about a recipe and it did not quite come out like when see made it. In the end it was different because I did not add cream. She said, 'well off course you add cream,' as if using it would be understood. I never even thought to mention a bandsaw because I can't imagine not using one. I don't recall reading or seeing any pictures of your pin router. Maybe in an upcoming build you could include a picture of it being used?

Thanks Bruce, that makes sense.

Gee Whiz, Fred, I was trying to be funny! Forgot to use an emoticon :)

My own mother had a state fair blue ribbon winning cake I always asked for on my birthday, and when I had left home I asked for the recipe. I then made the cake and it was a complete failure. I asked her for clarification and it turned out she has assumed the sugar which like your own experience, didn't work out well.

I only have an Onsrud pin router because for a few years I had a side business making 2 dimensional mannequins from FinPly. I sold that business to another luthier many years ago but kept the pin router. At this point the only thing I use it for is cutting out pick guards!

Dream Series #8
 

By the end of today I expect to have the back on the JB-15 I am making for Dream Guitars. There is a bit of uncertainty as I have to get to Lafayette about 50 miles away and pick up the three guitars that have been languishing in the guitar shop over there, and traffic is generally terrible along any route between us.

Meanwhile, I did get the side reinforcement ribbons in this morning, and here is a picture of the current state:

http://mojoluthier.com/LP17/Dream/ribbons.jpg

Dream Series #8
 

Until the strings go on, this is my favorite point in the construction. The guitar is a forgone conclusion at this point barring unexpected catastrophe. I will next put on the back.

http://mojoluthier.com/LP17/Dream/neckblock.jpg

http://mojoluthier.com/LP17/Dream/neckblock2.jpg

Bruce,
I am enjoying following along. I am a fairly new, self taught, build thread following greenhorn. I have been trying to learn everything I can about building by watching masters like yourself. Thanks for taking the time to explain things like you do. I too get a kick out of closing the box, glad to hear that never goes away.
What radius do you build your top to? I would love to see your workboard without a top mounted on it. I assume it is just an oversized shape of a guitar with the radius cut into it. Do you use the same board for each of the different size bodies you build? Your process of building on a board without forms intrigues me. I may have to give it a try.
Thanks
Travis

I wasn't quite sure if you were or not, thought it best to play it straight in my reply. A while back I also posted a comment you shouldn't try to get the guitar you were working on perfect, people would start thinking your guitars were built by machine. I meant it in jest but later thought, what if you thought I actually meant you should not try to do your best. Darn, I should have put a smiley after it. Yeah, sometimes subtleties get lost in the written word.

Because I grew up with friends who attempted the elevate the pun to an art form, I have learned to ignore obvious humor, which is the appropriate response to a pun. I remember your jest and understood it perfectly. One day we may meet, and I expect to get along.

Dream Series #8
 

I didn't get the back on yesterdays as I realized that this guitar is meant to have a sideport and that takes a couple of hours more than the day had left in it. None of the previous Dream Series had this feature, nor was it asked for, but I really wanted to see if I could hear the difference.

The back did go on this morning:
http://mojoluthier.com/LP17/Dream/sideport1.jpg

http://mojoluthier.com/LP17/Dream/label1.jpg

http://mojoluthier.com/LP17/Dream/label2.jpg

http://mojoluthier.com/LP17/Dream/backgoeson.jpg

Back from lunch and undid the back clamping. Took before and after pics so you could share the transformation that occurs when I rout the back to the actual shape of the sides. Left the memory card out of the camera. Oh well.

Put it in and took these:

http://mojoluthier.com/LP17/Dream/closedfront1.jpg

http://mojoluthier.com/LP17/Dream/closedtop2.jpg

http://mojoluthier.com/LP17/Dream/closedback1.jpg

http://mojoluthier.com/LP17/Dream/closedback2jpg

Sweet! :up:

If that's the case, I'll take it.

;)

assuming this IS the case . . . wait'll you see the guitar! ;)

[Not sure if my obscure spelling joke landed]

OK!

Not sure if mine landed either.

So, I know I misspelled "foregone", but . . . Don't you hate it when you have to explain a joke?

Yesterday I did get the binding onto the Dream Series JB-15, and today I installed the graft and cut the dovetail cavity. Tomorrow I expect to get pretty far with the neck as I haven't really been much for celebrating any President's Day since they melded George's and Abe's days.

Any guitar looks better when the plates are properly framed, and this one s no exception. I'm not sure I mentioned it, this guitar is bound with extremely well quartered Jatoba, and aside from being a nicely contrasting color and the toughest wood I have ever worked (perfect for binding), it will pop seriously when the finish goes on; the closer one gets, the better it will look.

http://mojoluthier.com/LP17/Dream/boundtop.jpg

http://mojoluthier.com/LP17/Dream/boundback1.jpg

http://mojoluthier.com/LP17/Dream/boundtopcut.jpg

http://mojoluthier.com/LP17/Dream/boundbackcut.jpg

http://mojoluthier.com/LP17/Dream/graft1.jpg

http://mojoluthier.com/LP17/Dream/boundbackdovetail.jpg

Beautiful work Bruce (you give great miter)...:up:

Although I contribute nothing, I always feel a great sense of accomplishment on seeing Bruce close up another work of art. And this one with a cutaway?! Thanks for the always-amazing work, Bruce! And for the compelling photodocumentary to go along with it.

This back has great character, top and sides are nice, I really like the back.