NICK KUKICH (Franklin Guitar Co.) The OMC (German Spruce / Cuban Mahogany)

[mhw48]

Yes, the photos and the comments are really fascinating: all the small details, decisions and distinctions that make a hand built guitar unique. Things like the cap on the X-brace, for example. Equally interesting is to discover how unique each Franklin is: if you are surprised that there are only 4 side reinforcement strips in this build, looking at other Franklin build photos, there appear to be none! Looking inside my Franklin, there are none! I also notice that the small brace just under the sound hole is absent in some other builds. (Absent in mine as well) I wonder what determines those decisions for Nick. Perhaps some characteristic of the structure of the wood he is using on a particular build that needs to be addressed? A way of attaining the particular sound parameters that he and/or the customer is looking for? Nice that along with the guitars "birthday" and serial number, your name is noted under the top. Ok, so now I have to see what's written on mine!

[iim7V7IM7]

The answer is....

Nick normally, uses no side reinforcement on his guitars. This set of Cuban Mahogany has lots of curl and interlocking grain, particularly on the cutaway side he felt that some local side wall reinforcement was necessary in two places. The two on the other side were simply for visual symmetry. Every guitar off his bench is a bit unique, responding to the situation on the bench before him...

Originally Posted by mhw48

Yes, the photos and the comments are really fascinating: all the small details, decisions and distinctions that make a hand built guitar unique. Things like the cap on the X-brace, for example. Equally interesting is to discover how unique each Franklin is: if you are surprised that there are only 4 side reinforcement strips in this build, looking at other Franklin build photos, there appear to be none! Looking inside my Franklin, there are none! I also notice that the small brace just under the sound hole is absent in some other builds. (Absent in mine as well) I wonder what determines those decisions for Nick. Perhaps some characteristic of the structure of the wood he is using on a particular build that needs to be addressed? A way of attaining the particular sound parameters that he and/or the customer is looking for? Nice that along with the guitars "birthday" and serial number, your name is noted under the top. Ok, so now I have to see what's written on mine!

[mhw48]

That makes sense, thanks!

[TomB'sox]

I think it is interesting to note the differences among builders all building what is called a guitar. Specifically, another build thread currently going on said they do not tuck the bridge plate under the braces for if it ever needed to be replaced it would be a much bigger job to do so which makes sense, then I stop by here to find the bridge plate tucked....

[iim7V7IM7]

Yes Tom there are variety of approaches to design of guitars. There is indeed some wisdom to considering repair in the future...

Bridge plates can fail a number of ways. Most commonly from string ball abrasion/compression around the bridge pin holes (typically requiring repair and not replacement) or cracking (most commonly between the bridge pin holes) due to bridge itself or top braces ungluing allowing the top to lift. The later type of failure typically requires a bridge plate replacement.

Traditional CF Martin bridge plates were Sugar Maple which is hard, but nowhere near the hardness of the rosewoods that many builders now use. This mitigates against hole wear. Some luthiers also use rift sawn pieces to further mitigate against cracking between the pin holes. Nick uses BRW for his tucked plates and it appears to be quartersawn to boot. His lower bout dish is quite flat (>50’) which also mitigates against plate cracking as well. With nearly 700 guitars off his bench over 40+ years of building, I am comfortable that he has a method to his madness...

Originally Posted by TomB'sox

I think it is interesting to note the differences among builders all building what is called a guitar. Specifically, another build thread currently going on said they do not tuck the bridge plate under the braces for if it ever needed to be replaced it would be a much bigger job to do so which makes sense, then I stop by here to find the bridge plate tucked....

[iim7V7IM7]

Nick has the mounted the closed “box” on his rotatable, vacuum jig where he can hold and rotate the body relative to him while he scrapes the surfaces (left). The three Adirondack Spruce ladder braces can be seen perforating the back linings of the scraped Cuban Mahogany body. The guitar will soon be routed for bindings, purflings, backstrip and an end graft (right).



Here is the construction of the purfled, curly Sycamore Maple end graft.



This series shows the back being routed and the the Maple/Black Fiber zipper backstrip installed.



The backstrip is now installed and the end graft placed on the body for show (pre-routing).

[swiftz07]

Thanks for sharing these pictures and insights of your amazingly fun build! What an adventure! Nick’s guitars are amongst my favourites and I count myself blessed to be able to own some of his fine instruments. I am certain your Franklin will exceed your expectations

[Diamondave]

This is becoming very real...!

[justonwo]

Super classy! Thanks for sharing the photos!

[Guitars44me]

This looks really nice!!!

Thanks for sharing. So many ways to skin a cat... haha

Have a wonderful Christmas

Paul

[iim7V7IM7]

Originally Posted by swiftz07

Thanks for sharing these pictures and insights of your amazingly fun build! What an adventure! Nick’s guitars are amongst my favourites and I count myself blessed to be able to own some of his fine instruments. I am certain your Franklin will exceed your expectations

Originally Posted by Diamondave

This is becoming very real...!

Being a fly on the wall in a luthier's workshop is indeed fun to watch... They all approach the same goal so differently.

Originally Posted by justonwo

Super classy! Thanks for sharing the photos!

Originally Posted by Guitars44me

This looks really nice!!!

Thanks for sharing. So many ways to skin a cat... haha

Have a wonderful Christmas

Paul

There are many roads all leading to Rome...

[iim7V7IM7]

Nick has begun to route the channels for the curly Sycamore Maple bindings and Maple/Black Fiber back purflings (top). In the middle image you can see how the routed channels are terminated so Nick can miter the back purflings with the Maple/Black Fiber zipper backstrip. The bottom image shows his purfled, tapered curly Sycamore Maple end graft.



These two images show the neck end of the guitar. The bottom image shows the first miter cut into the Maple/Black Fiber zipper backstrip to abut the Maple/Black Fiber back purflings.

[iim7V7IM7]

This series of photos chronicles how Nick prepares his routed channels for mitered side purflings around the end graft junction. It also gives you a peak into an end view of the quartersawn grain of the 50-year old German Spruce top.


Here are the black fiber/maple back purflings being mitered at the zipper backstrip junction. Nick uses some scrap pieces of binding to affix it when glueing it in place.


Bending the side purflings using a heated form and a hot pipe to form the 3/4” cutaway radius.

[swiftz07]

Lovely details! The guitar is really coming together!

Bob, would you know if Nick uses hide glue or regular titebond during construction? It’s just something I have always been curious about!

[iim7V7IM7]

Originally Posted by swiftz07

Lovely details! The guitar is really coming together!

Bob, would you know if Nick uses hide glue or regular titebond during construction? It’s just something I have always been curious about!

Answer: I don’t know, but I suspect that he uses Titebond. I will ask him.

Conjecture: The reason I say this if you look at his top bracing clamping fixture (post #72) I believe that HHG would not afford enough working time to use that (unlike a traditional go-bar deck where braces are clamped one at a time).

General: Most builders who use HHG for many operations actually don’t use it when joining the top and back plates for the same reason (limited working time). So you really need to be specific about which building operations for HHG. Typically, top/back bracing, neck joints and bridges. Many things such as purflings and rosettes use cyanoacrylates. I have seen urethanes used for other operations by HHG builders as well...