Build Thread: Stahl Style #6 inspired.

[Steven Bollman]

Originally Posted by Howard Klepper

Steve, I don't know what C&N say, but I would encourage you not to try to do a final shape on the neck before the fretboard is on it.

And a tip: the beginner is much more likely to leave too much wood on a neck, especially the shoulders, than to take too much off. I of course disclaim any responsibility for what may happen when you take my advice.

Originally Posted by Rodger Knox

+1 to that! I've reshaped the first neck I made 3 times, and it's still a little chunky for my taste.

Thank you, both! I hear you. Though, I'm planning to make a "beefier" neck, I do see that it's easy to think it's right when it's still to thick. I was thinking of making a surrogate fretboard out of some softwood scrap to help judge it, but it makes sense to wait.

Howard, who is C&N?

[Howard Klepper]

Originally Posted by Steven Bollman

Howard, who is C&N?

I thought you were using Cumpiano and Natelson as a reference.

Oh, and re the nut, since you are using the traditional Martin style headstock joint,take a look at how Martin traditionally does it, with the nut on the headstock surface and the fretboard ending where the neck and headstock meet. It's a bit of C.F. Martin's elegant detail. The bottom of nut is angled to rest on the headstock and butt to the end of the board. The veneer butts to the other side of the nut (requiring the end of the veneer also to be undercut, not square). And the ends of the nut follow the taper of the headstock, so the nut is a trapezoid looking down on it.

[Steven Bollman]

Originally Posted by Howard Klepper

I thought you were using Cumpiano and Natelson as a reference.

Oh, and re the nut, since you are using the traditional Martin style headstock joint,take a look at how Martin traditionally does it, with the nut on the headstock surface and the fretboard ending where the neck and headstock meet. It's a bit of C.F. Martin's elegant detail. The bottom of nut is angled to rest on the headstock and butt to the end of the board. The veneer butts to the other side of the nut (requiring the end of the veneer also to be undercut, not square). And the ends of the nut follow the taper of the headstock, so the nut is a trapezoid looking down on it.

Thanks Howard. Sorry, I'm using that and the Kinkead book. I had trouble not thinking C&N had something to do with Crosby Stills & Nash. You see how my brain works? I'm a danger to self and others ;-p

I appreciate the clarification on this detail point. I've noticed a lot of variation and want to make a choice that suits the feel of the joint. I know I've deviated a lot from the Larson Bros., but I'm OK with it as long as it still looks good and sounds good. I know this is aspirational. Theres a long way to go. Lots of tricky turf that I haven't a clue how to traverse. I'm glad you and others are poking their heads in with comments and course corrections. Much appreciated.

[AcousticMoose]

A little tip for next time... I was reading through and noticed you were worried about the soundboard chipping. One thing I do to prevent chipping is pretty simple. I take some blue masking tape and lay it along my outline of my soundboard shape. Then I cut about a half inch out from that line since we won't be finalizing the shape until later. The masking tape helps prevent tears by binding the wood together and letting the outside (what will be scrap) take the brunt of any impact. I'm always surprised how many guitar builders don't do this! It's a commonly known trick in woodworking.

[Steven Bollman]

Originally Posted by AcousticMoose

A little tip for next time... I was reading through and noticed you were worried about the soundboard chipping. One thing I do to prevent chipping is pretty simple. I take some blue masking tape and lay it along my outline of my soundboard shape. Then I cut about a half inch out from that line since we won't be finalizing the shape until later. The masking tape helps prevent tears by binding the wood together and letting the outside (what will be scrap) take the brunt of any impact. I'm always surprised how many guitar builders don't do this! It's a commonly known trick in woodworking.

Thanks AcousticMoose! I've noticed, though, that even the blue tape can lift wood. I lucked out this time with a new bit and by making several passes.

[Steven Bollman]

What do folks think... The "B" is a tad higher than I intended. Generally I'm pleased for a first inlay. I'm I being too anal?

[Jim.S]

Looks good to me, you don't want to make them look like they were popped out of a CNC machine Steven.

Jim

Edit...I am also getting the impression that you have done a bit of woodwork before.

[Steven Bollman]

Originally Posted by Jim.S

Looks good to me, you don't want to make them look like they were popped out of a CNC machine Steven.

Jim

Edit...I am also getting the impression that you have done a bit of woodwork before.

Thanks Jim. I was starting to lean in that direction. Years ago I made some handmade furniture. It's been about 12 years since I've done anything. I'm having a blast. Come what may.

[Steven Bollman]

Headstock slots drilled and cut lines laid out. This is my second headstock. I screwed the first one by trying to freehand drill a 1/2" diameter bit and expected it to come out on the other side where I wanted it to. Fat chance. It wandered. The good news is this head stock fits really well and is much tighter.



Headstock slots roughed in. More refining tomorrow.



Side view of headstock and volute.



Another angle of the back of the headstock and volute.

[naccoachbob]

I think having the B slightly higher than the S should now become your trademark - put it on any other guitars you build. It's now a Feature!
Bob

[Steven Bollman]

Originally Posted by naccoachbob

I think having the B slightly higher than the S should now become your trademark - put it on any other guitars you build. It's now a Feature!
Bob

I have lots of slightly out of alignment features!

[charles Tauber]

A common design rule of thumb in furniture is to avoid designs where parts are close to being aligned but aren't. Instead they are purposely exaggerated to not be aligned so that no one says, "Oh, looks like they should have been aligned, but missed".

As applied to your logo, one approach is to purposely offset the two letters so that there can be no mistaking that they were not intended to be aligned, but missed. Doing so, "lowers the bar" in terms of difficulty, probably with no loss of design quality.

[Steven Bollman]

Sanding the headstock slots.



Laying out the fret slots.

[Steven Bollman]

Getting ready to assemble the bird's beak joint.



Here its goes.



Using a nylon strap and clasp to clamp the headstock and neck during the glue up. I'm using Hot Hide Glue for all you glue aficionados.



Trimming the base of the head plate where it meets the nut.



Gluing the head plate to the headstock. Using an old headstock as a clamping caul.



Tapering the ebony fret board.



Getting ready to make the "ramps."



Using a 1/2" round rasp.



The finished ramps.

[Steven Bollman]

All the bracing is glued in with HHG. I need to clean it up a bit. I don't know if this a fair question or even answerable without actually handling the soundboard... but is there anything glaringly wrong about it at this point? I've been tapping it and shaving down the braces, but honestly other than it sounding very nicely resonant, I can't say I know what else I'm looking for. The Lutz spruce is hovering between 2.7-3.0 mm thick. I've taken into consideration that beginners tend to leave the braces too think. I've also got in mind something I saw in a Somogyi clip about making it so light that it is on the verge of collapsing.