#121
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Makes sense. Thanks Bob!
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Collings OM2H Adi / Braz Doerr Legacy Swiss / Braz Franklin OM German / Braz Franklin OM Carpathian / Braz Goodall GC Italian / Honduran Goodall GC Italian / Braz Goodall CJC Italian / Braz Goodall CJC Italian / Afr. Blackwood McPherson 5.0 Full Koa McPherson 5.0XP Adi / Braz Martin D-28GE Adi / Braz |
#122
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I heard back from Nick...
Answer: Nick does use Hot Hide Glue (HHG) with 2% urea added to extend the open time to do all operations. He also uses HHG to tack the miters but use Tightbond on the rest of the bindings. He still glues his bridges with Tightbond though.
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A bunch of nice archtops, flattops, a gypsy & nylon strings… |
#123
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Quote:
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Collings OM2H Adi / Braz Doerr Legacy Swiss / Braz Franklin OM German / Braz Franklin OM Carpathian / Braz Goodall GC Italian / Honduran Goodall GC Italian / Braz Goodall CJC Italian / Braz Goodall CJC Italian / Afr. Blackwood McPherson 5.0 Full Koa McPherson 5.0XP Adi / Braz Martin D-28GE Adi / Braz |
#124
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Here is a shot of some of the bent black fiber/maple side purflings and curly maple back bindings on the routed body (top); the bindings being bent on a hot pipe (lower left); and a back purfling being mitered (lower right).
This series of photos shows the bent curly maple back bindings and black fiber/maple purflings being glued onto the routed channels of the body. All taped up waiting for the Titebond to dry... The results… Onward to applying the bent top bindings and purflings to the guitar’s body (top). The channel for the Paua Abalone top purflings is still open with a spacer. The detail (bottom) shows the curly maple top binding/end graft junction pre-scraping. You can see how the side purflings and end graft purflings are mitered together.
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A bunch of nice archtops, flattops, a gypsy & nylon strings… Last edited by iim7V7IM7; 12-21-2018 at 01:50 PM. |
#125
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Do you know if Nick builds only one guitar at a time?
Last edited by mhw48; 12-21-2018 at 07:02 PM. |
#126
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Yes, I do know. Nick builds his guitars serially, one at a time and not in batches.
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A bunch of nice archtops, flattops, a gypsy & nylon strings… |
#127
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That's what I suspected, especially since there aren't any other guitars in the background in the photos of yours, but I was curious. So all that expertise and concentration is focused on just your guitar!
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#128
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Nick like many solo luthiers uses a one-at-a-time approach to guitar making. They typically take advantage the drying time during finishing to start their next commission. Some perform certain preparatory operations in batches but still build one at a time. Other luthiers prefer to work in batches of varying sizes from start to finish. Most builders that I have partnered with have chosen to build serially...
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A bunch of nice archtops, flattops, a gypsy & nylon strings… |
#129
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Thanks for the pics, Bob. It's fascinating to watch other luthiers and their differing approaches to various tasks. His purfling/binding sequence would drive me batty, and I'm certain mine would him. It so often comes down to where your comfort zone is, perhaps to what terrifies you least?
Cool stuff, thanks again! Steve |
#130
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Quote:
Yes, I am amazed at the heterogeneity of approaches to building, particularly by older, self taught, non-apprenticed luthiers. In the past, beyond a few hints from an Irving Sloane book, you were on your own to develop your own approaches to accomplishing tasks. I find it common that each luthier can’t imagine using the other’s approach. Lutherie for the most part has been a solitary career where you solve problems in isolation. Today, with the advent of the internet, schools like Galloup and Venn as well as organizations such as GAL or ASIA we see more homogeneity of approach and use of purchased tools and fixtures among younger luthiers (not sure if that is a good thing!).
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A bunch of nice archtops, flattops, a gypsy & nylon strings… |
#131
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Since it's December 24th, El McMeen playing Jingle Bells on a Franklin cutaway:
https://www.youtube.com/watch?v=QCKa1SAWFWA |
#132
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Quote:
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A bunch of nice archtops, flattops, a gypsy & nylon strings… |
#133
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Love This Build
Haven't logged in here for awhile and saw this thread...What a great Christmas present to get a Franklin build! I personally love Nick's guitars and own several in different flavors. I wasn't aware of the cutaway model, and now my interest in piqued because I prefer a cutaway if its available. Really looking forward to seeing how this turns out and getting your feedback on the tone, etc.
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#134
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Thanks...
Nick does not advertise his OMC model on his website, just his OM, his Jumbo and 12-fret Roy Smeck Dreadnought. http://www.franklinguitarcompany.com/styles/ The OMC is a larger guitar than the OM. Nick designed it from the ground up. The OM is 15” wide in the lower bout and the OMC is 15-5/8” (Dreadnought width, with a narrower waist and less deep at 4-1/4”). The extra size is designed to make up for the lost body volume that the cutaway typically subtracts from a standard OM. Quote:
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A bunch of nice archtops, flattops, a gypsy & nylon strings… |
#135
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Here are some shots of the completed maple/black fiber zipper backstrip, mitered maple/black fiber back purflings and curly Sycamore maple bindings (left). The maple/black fiber side purflings and Nick’s signature end graft (in matching maple) are also mitered and now scraped (right). The curl and ribbon figure in the Cuban Mahogany is beginning to show.
This sequence of three photos shows the installation of the pipe bent, top maple bindings and teflon top purfling spacer strip (to form the channel for the Blue Paua top purfling). Here are some shots of the completed German Spruce top. Both the middle ring of the three ring rosette and the top bindings are curly Sycamore Maple instead of the traditional Ivoroid material and contain matching Blue Paua shell. Merry Christmas to all...
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A bunch of nice archtops, flattops, a gypsy & nylon strings… |