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  #76  
Old 03-30-2016, 09:31 PM
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Bruce Sexauer Bruce Sexauer is offline
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Making a guitar deeper does not make it louder, it makes its natural resonance deeper (IMO) and that it not necessarily a good thing. This particular guitar is pretty much standard classical dimensions, and if anything is slightly thinner from to back, as that is what flamencos tend to be. Nylon strung guitars, in my experience, are if anything strong in the bass compared to the treble. Both of my "flamencos" seem pretty well balanced to my ear.
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  #77  
Old 03-30-2016, 10:13 PM
naccoachbob naccoachbob is offline
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Bruce, it's looking and sounding very nice. In the picture of the back, I can almost tell that it is you in the reflection.
You said in one of the posts on the previous page that you "blocked and buffed" the guitar.
I've heard the term "blocked" before, but never learned what it meant. Can you clue me in?
Do you ever document your violin builds? Although that's not something I've thought of doing (yet), it's something that fascinates me just as guitar building does. If you have, please point me in that direction. If not, please do one very, very soon and document it so I can vicariously live thru it
Again, the Mulatta is very nicely done.
Regards,
Bob
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  #78  
Old 03-31-2016, 08:14 AM
charles Tauber charles Tauber is offline
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Very nice, Bruce. Thanks for sharing both the process and the finished instrument.
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  #79  
Old 03-31-2016, 09:38 AM
redir redir is offline
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Sounds and looks great!
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  #80  
Old 03-31-2016, 10:17 AM
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Bruce Sexauer Bruce Sexauer is offline
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Blocking refers to a method of sanding a coat of finish. A hard block is used to back the abrasive in order to achieve a glass flat surface. If this is not done, the buffing will reveal the uneven surface. I do my final blocking with nothing courser than 1500 grit, and it takes some time. My current hard block of choice is a variety of sized pieces of "flip-flop" sandals.

I document my guitar builds for a couple of reasons. One is that the customer like it and it keeps them in the loop of the process, allowing both involvement and some actual control. Another is that I have actually evolved both my understanding and my process to where I feel I have something to offer the community. While the average aficianado will likely be entertained, many practitioners of the craft will notice what is different about my methods, and may find something useful in my documentation. And of course they do the same for me from time to time.

My violin process is much more typical, I believe, and I am in no position to advise anyone on that subject. Despite this, my fiddles are getting better, and by the time I am 125 I expect great success with them.

Thanks for the feedback, folks.
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