JOHN BUSCARINO: 16” Monarch Archtop (Carpathian Spruce/ Fiddleback Sycamore Maple)

[cigarfan]

Looking good Bob. I think I like the s-holes better than the typical f.

[Steve Kinnaird]

Yes, I'm with Dennis--those "S" holes are lovely, and who can argue with the letter "S" anyways? A lot of good things begin with that letter.
And mercy, that set of Euro Sycamore (see? another S) is to buy for. Kudos!

S. Kinnaird

[iim7V7IM7]

Originally Posted by cigarfan

Looking good Bob. I think I like the s-holes better than the typical f.

Originally Posted by Steve Kinnaird

Yes, I'm with Dennis--those "S" holes are lovely, and who can argue with the letter "S" anyways? A lot of good things begin with that letter.
And mercy, that set of Euro Sycamore (see? another S) is to buy for. Kudos!

S. Kinnaird

Thanks guys...

I actually like both f-holes and s-holes. I have archtops with both. My 16” Comins Classic (left) has chamfered f-holes and my 17” Trenier Artifex (right) has s-holes. I felt since we were binding these, the simpler s-holes would work better in the context of this design. I think Steve may be showing his Nacogdoche”S” bias....

Yes, the European “S”ycamore is gorgeous. I like that the 2002 re-saw date was left on it. I can’t wait to see it carved and under finish...

[CoolerKing]

great thread, don't know how I missed it the first time around. Also looking to see that back under finish.

[iim7V7IM7]

Originally Posted by matthewpartrick

great thread, don't know how I missed it the first time around. Also looking to see that back under finish.

Thanks Matthew....

I think John was waiting for some of his end mills to come back from the sharpener before rough cutting it. That set was re-sawn by Andreas Gleisner in Germany 18-years ago and came from the Austrian Alps. European Sycamore tends to be paler in color than North American Bigleaf or Red Maple. This set is quite unusual. John is planning on using a very light fadeburst color which should enhance the depth of the fiddleback once under finish.

[justonwo]

Rad! Keep up the good work with posting!

[iim7V7IM7]

I received these two videos today from John...

The first video shows the rough carving process for the Austrian Sycamore Maple using his CNC.



The second video shows the perimeter shaping of the plantilla of the back plate.



More when I get it...

[cigarfan]

Awesome! Thanks for posting these. CNC is such an incredible process. Fascinating!

[iim7V7IM7]

Originally Posted by cigarfan

Awesome! Thanks for posting these. CNC is such an incredible process. Fascinating!

Thanks Dennis…..

Out of the many luthiers that I have interacted with over the years, only a minority of them have utilized CNC in the creation of their instruments. Some of that is driven by their philosophy, or the cost of entry (computer, software, CNC, tools, jigs and fixtures etc.), and others a reluctance to learn new methods (e.g, learn CAD, CAM and shop methods).

Archop luthiers in general have been early adapters of the technology because it is a far more physically labor-intensive process than the creation of a classical or steel string flat top guitar. The rough carving of maple and spruce plates using manual methods over decades takes a physical toll on a luthier. Many older archtop (also cello and violin) luthiers in the later decades of their careers suffer from permanent repetitive stress injuries.

John started hand carving archtops in Bob Benedetto’s shop in the early 1980s. Like many, he moved on to using a router duplicator for rough carving his plates for decades. It wasn’t until John was in his 60s when he added a CNC into his building process. The refinement and acoustic tuning of the plates and braces are still accomplished through traditional methods guided by the mastery of the luthier.

[Nemoman]

Very cool--watching those videos one can really see the advantages of using the CNC in this application. Thanks for sharing them!

[iim7V7IM7]

John has installed and tuned a Carpathian Spruce x-brace for the Carpathian Spruce top. John add a tone bar to his x-brace to fatten the treble response in his instruments.



Here is the rough carved the Fiddleback Austrian Alpine Maple (European Sycamore) and attached it to the Basswood kerfed lined, Sitka Spruce reinforced rims. You can also see the Honduran Mahogany neck and end blocks. Even without finish, you can see that the figure in this set is going to be something special...





John is tapering rims on this 16” archtop for some enhanced acoustic response. The taper will go from 3” to 3-1/2” on this instrument.

[cigarfan]

That Maple is going to be eye popping!

[iim7V7IM7]

Originally Posted by cigarfan

That Maple is going to be eye popping!

Thanks Dennis.... John got this set of maple from Andreas Gleissner in Germany. It came from a log harvested in Austria. It has been seasoning/drying for 17 years since it was resawn. It is very unusual to find the combination of fiddleback figure with such tight quartersawn grain in a 1” thick billet. John is going to put on a very light almond burst tint which should make the figure “pop” even more...

[Bill Kraus]

A stunning set, you don't see curl like that too often. I love the way it's highlighted in this photo.

[iim7V7IM7]

Originally Posted by Bill Kraus

A stunning set, you don't see curl like that too often. I love the way it's highlighted in this photo.

Bill, no I have not either in Euro Maple archtop sets.... I have seen a number of lovely flattop sets, but not in 1” billets. This level of curl is more common in Bigleaf maples. This set is on the denser end of the spectrum.