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Old 02-28-2021, 12:28 PM
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Mark Hatcher Mark Hatcher is offline
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Join Date: Jul 2011
Location: Green Mountains
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Default Penelope Cross-over

Here is are a couple pictures to update progress on the Bubinga/Cedar Penelope nylon cross over. The Penelope is one of my first model designs and it's always been my trial guitar on most anything new. It is funny however that there are several features that are common on my other models that I have never done on a Penelope. I have never done a Florentine cut away on a Penelope. The closest I've come was the scoop type cutaway with a Florentine point that I did for my Venetian influenced Olivewood guitar (the irony of a Florentine pointed cutaway on a Venetian style guitar is now just hitting me)



I like the cut of the line on the soundboard so I've let that be the guide for the full Florentine cut-away on this new guitar. Here is a picture of the joined laminated sides receiving the back kerfing:



I have never done an arm bevel on a Penelope so this is another first. I am gluing the top kerfing on here and you can plainly see the Spanish Cedar banana glued in which will provide the support for the arm bevel to come:



I've also have never done a raised fretboard on a Penelope. Since that is now a standard feature on the Penelope steel string guitars and works so well it is certainly being carried over to this cross over.
So what's the improvement with the elevated fretboard? There are two improvements particular to this model. The guitar is a 12 fret so there is more fretboard on the soundboard and when it is raised if provides better access and leverage when fretting above the 12th fret. It is an improvement even if there is a cut away.

The second improvement is a bit more subtle but makes a difference. With some players it is a big difference especially if they are used to playing 14 fret guitars. You see a 14 fret guitar gives you a little more elbow room from the side of your body because you are reaching out further to fret the guitar.
With an elevated fretboard the guitar's neck is cantered out a couple degrees so the strings are pointed down toward the bridge (so the bridge doesn't need to be higher to match the elevation of the fretboard). When the neck is pushed out a little it brings your left arm out a little more from your body and gives you back that elbow room so you may not feel as cramped as you go up the fretboard.

I've heard some people say that a guitar with an elevated fretboard sounds a little more harp like because the strings are pulling up a little more on the bridge. I'm not one of those people that say that. I don't hear it.


Thanks for viewing!
Mark
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Mark Hatcher
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“Let me make the songs of a nation, and I care not who makes its laws.”. Andrew Fletcher