#31
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I am making the bridge out of a chunk of Snakewood I have been tripping over in the shop. It will be fairly conventional if a bit delicate (I hope). The bottom section in the picture is entirely hand carved so far, though I will likely scrape it smooth. The top part had been machined to fit the adjusting mechanism and the bone saddle, and will likely be finessed tomorrow.
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#32
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I love the cherry on the back beautifully restrained.
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#33
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Thank you. I have a friend from Wales, Alan Finch, who moved back after a few years here(ish). I am guessing I'd like to visit there sometime as Alan is no fool IMO.
The bridge is far enough along to make sure it actually works before I go further. So I put on a set of tuners and I'm well into the tail piece, another innovative way to handle the problem, related to but not the same as the last one. |
#34
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Not quite done, but I've put hours on the fingerboard already! Still have the trussrod cover and the finger-rest, as well as endless tweaking. This guitar is significantly louder that its earlier sister, so much so that I can lower the action to stupid low levels and still get enough volume to sing with it. StupLow means 1mm at the 12th on the e and maybe 1.3 on the E. Lowest I've ever succeeded with!
A different take on the adjustable tension system I used on the last one. |
#35
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That is exactly what I said to myself when I scrolled down to the picture.
Got a question for you Bruce. In another forum a member is starting on an archtop and he noticed there are no back braces on the plans he has. I never thought of it before and re-scrolled through your build to check out if yours is braced or not. Unless I missed it would it be safe to say that the backs are not braced?
__________________
Fred |
#36
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I have never seen a brace on a carved back of any instrument. If there were one it would threaten longevity in variable humidity, and work against the movement of the back in support of the top, which is what makes the magic happen. There is no reason I can think of to put any braces in there as it is a self supporting monocoque functioning as a rhythmic oscillator. That was fun to think!
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#37
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Absolutely beautiful, Bruce.
What are your thoughts on the benefits of the bone saddle vs. the traditional rosewood or ebony? |
#38
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The bone saddle does not break down so easily under pressure and can be shaped more delicately. It makes it easier to adjust side to side relative height, can be replaced without making a new bridge, and allows an under saddle pick up. I also like the way it breaks up the space aesthetically.
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#39
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Very nice. Considering a pickup? How would you ground the strings with that tailpiece?
Thanks |
#40
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Quote:
My interest continues to be in getting great acoustic sound, not so interested in the electric guitar sound, but the customer is always right . . . when he/she shows up. |
#41
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Quote:
__________________
Fred |
#42
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Sexauer JZ-16 (2015)
Quote:
A very important attribute for a luthier to have, IMO, but oh so often overlooked by many. Gorgeous guitar! Very tastefully done. [emoji4] |
#43
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It is much easier, and takes less knowledge and skill, to judge a book by its cover than by its content! I do appreciate a nice presentation, and make every effort make one, but my work is more about expanding the guitars potential as a music making tool. To those of you who may notice and appreciate the difference, my hat is off to you! Thank you. Please try one of my guitars when you get the chance. Let me know what you feel, if it moves you.
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#44
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Beautiful work, Bruce! I love how your cutaway design translates to the archtop.
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#45
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Thank you!
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