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#16
02-10-2016, 11:59 AM
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It's not a welcome word where I live. I realize were talking about a guitar, but I wouldn't name an instrument a word I wouldn't call someone to their face. I'm not ragging in Bruce, I'm trying to help. People get bent out of shape about PC issues, but I maintain its easier to be informed and change a behavior than it is to mend a damaged relationship or reputation. 
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#17
02-10-2016, 01:27 PM
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Sure dude, no worries, let's casually dismiss things that are important to others as "PC crap" and live in our little bubble and never really learn about folks who live different lives than us. Hey, don't worry, you're not alone, at least! As Bruce mentioned, these were replies to a question he asked, and I think it's smart to have done so. He can judge based on the replies whether it's worth the potential offense to keep the name, and be aware of how folks might interpret that action. That's smart and a good business, IMO. Call human feelings what you will, Dave, but it's a fact that there are plenty of people who find terms like this (rooted in racial segregation) hurtful and oppressive.
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#18
02-10-2016, 01:29 PM
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Back to non-PC, but no less controversial issues, if only in a smaller world.
I do not use molds in my guitar construction, though I did 20+ years ago. This allows me great freedom with design and geometry, though it does take greater care to achieve the bilateral symmetry that is the standard of our microcosm. A byproduct (actually it is the primary issue) is that the increased attention to detail also created a more relaxed finished product, and at least theoretically, that makes a more responsive instrument. As promised, here are some insights into how I control my neck geometry. If these pictures are not adequately informative, just ask.   
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#19
02-10-2016, 01:33 PM
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The term is considered archaic in the United States by some and largely viewed as pejorative https://en.wikipedia.org/wiki/Mulatto
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#20
02-10-2016, 04:22 PM
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Dave
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#21
02-10-2016, 05:03 PM
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I am a modern person, and sensitive to the nuance of our time. I do not personally attach a negative connotation to "Mulatta", and while Wikipedia seems to, most definitions I have found do not. I apologize to any who find the title of this piece offensive, but it is what it is; a "title" of a one off "art" piece. In terms of what this guitar is, a mixed child of the Blanca and the Negra, there does not seem to be a better word in the English language.
I hope that the reading (and writing) audience can accept this and move on, as I would not like my gift of a build thread here to become closed as a battlefield. Let us talk about guitars, please. I use much of the traditional Spanish method for making my nylon string guitars, and some of it in my steel strings as well. Today I hand glued 130 individual blocks of wood, called "peone", to connect the sides to the top. There is one resting on a fan too, but it is not glued there, I hope, as I didn't notice it till I was processing the photo. 
Last edited by Bruce Sexauer; 02-10-2016 at 05:16 PM.
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#22
02-10-2016, 05:30 PM
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Sounds good, keep on hating, Dave!
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#23
02-10-2016, 06:10 PM
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If I understand your process correctly, altering the neck angle by angling the neck, as you are doing it, results in the sides at the neck juncture being slightly off 90 degrees. Specifically, off 90 by the amount of the neck angle. The end result is that the neck remains co-planar with the top in the upper bout, rather than the sides remaining 90 degrees and the neck angled relative to the top, and the bottom of the fingerboard tapered accordingly over the top.
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#25
02-10-2016, 07:23 PM
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Since the sides do go into slots cut 90 degrees to the neck surface, and I am pushing the neck out of line with the top by about a degree, you are surely correct, Charles. IF the geometry comes out where I hope this time, perhaps next time I will cut those slots at 91 degrees. Assuming I am able to see any distortion that bothers me, which I do not really expect, but I will look for it.
Last edited by Bruce Sexauer; 02-10-2016 at 07:36 PM. Reason: add an s
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#26
02-10-2016, 07:24 PM
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I absolutely love when some of our world renowned luthiers like Bruce share such intimate details of their amazing skills. Thank you! I look at these photographs and your explanations and can only say "WOW"! Your ability to combine artistry, wood working craftsmanship, musicianship skills, and "technical" luthier knowledge to construct such amazing guitars is a great blessing to all of us (especially to those who get to own one of your guitars!). Sharing the details of "how you do it" with us is a double blessing. Thank you again!
__________________
- Mike There are two ways of spreading light: to be the candle or the mirror that reflects it. - Edith Wharton, writer
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#27
02-10-2016, 07:42 PM
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Thank you, Mike. Encouraging me will get you more!
Here are the kerfed cedar linings that will receive the back being glued to the sides: 
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#28
02-10-2016, 08:38 PM
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I find it interesting that with your extensive experience in steel string construction that you have chosen to use the Spanish foot method of construction. My comment is not a criticism in any way, I just find it interesting.
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#29
02-10-2016, 09:46 PM
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When I built my first classical, no one I was aware of used any other method. I really enjoy this method, and I make my Ukes this way too. I could blame Irving Sloane. . . or Michael Dunn.
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#30
02-11-2016, 09:54 AM
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I used to build with the Spanish neck like that in a mold such that the neck was dead flat going into the body. I'd then taper the fretboard down to get the right angle. I'm talking such a small amount of taper that it's not even noticeable.
Since then I started building more like you do now on the open work board but now I use a bolt on so getting the neck angle right is a snap. I still make the traditional footed head block but now it has two bolt holes in it. It's looking good. I'm also curious about the wing V-Shaped upper transverse brace. I've not seen that done like that before.
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| flamenco, jazz, mulatto, sexaur, tucurensis |
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