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#1
05-15-2021, 04:14 AM
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Using a classical solera for acoustic guitars
I have a solera that I use to build classical guitars. It has a ramp forward in the neck extension. I wonder if I can use it to build acoustic guitars (OM or similar), given that on acoustic guitars the neck is level with the body or even sloping back. Perhaps using a renovable shim I could using for both type of guitars.
I would appreciate any advice on this matter. Thank you!
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Blog de la Guitarra Acústica y Clásica 
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#3
05-15-2021, 06:42 AM
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Thank you very much for the advice. Sorry, I have not understood well. Do you use a workboard for classical guitar and a different one for acoustic?
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Blog de la Guitarra Acústica y Clásica
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#5
05-15-2021, 08:34 AM
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I understand. Differents sizes, different radious, differents work boards. Very valuable info, thank you very much!
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Blog de la Guitarra Acústica y Clásica
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#6
05-15-2021, 08:42 AM
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Use one workboard for both steel string and classical guitars.
The neck portion of the workboard isn't all that relevant if you don't use an integral neck for steel string guitars. The problem with using an integral ("Spanish") neck arrangement on a steel string guitar comes if, or when, a neck reset is required. While the need for a neck rest isn't unheard of with classical classical guitars, it is much more common in steel string guitars.
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#7
05-15-2021, 03:12 PM
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An interesting comment. Of course, the first step is to decide whether to build with the Spanish system or with one of the varieties of subsequently fixing the neck to the body. I imagine that on this crucial decision we will all have an opinion about the pros and cons based on our experience or knowledge. That is a complicated question!
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Blog de la Guitarra Acústica y Clásica
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#8
05-15-2021, 07:02 PM
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As you can see there are many ways to do this. As you mentioned, for me it has to do with the radius and in some cases the size. I have one workboard for an OM guitar that I also use for a guitar body of my own size that works well. I simply have two designs drawn out on the board in different colored lines. Then I have one for a Dreadnought. I also have one design that is true flat top (no radius) so that one needs its own solera too.
In all cases I use a bolt on neck. So it's not the neck joint that is an issue but the radius of the top and upper brace and so on. But if you look at Cumpiano and Natelsons book what they do is use a flat work board with a shim as you mentioned in your original post. I've not tried it but it is of course another method for doing this.
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#9
05-15-2021, 08:02 PM
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I take my hat off to anyone that free builds, that is builds the guitar without the constraints of a mold.
I personally build to constraints as it forces me constantly adjust my build until it conforms, likely this is a personality issue at my end rather than a build technique  Steve
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#10
05-16-2021, 08:04 AM
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At the end of the 90's I built two vihuelas following the Cumpiano method, from my own drawings. I used a cork shim on a flat work board, and the instruments came out fine.
I have not actually built two instruments the same (I have built few instruments in general) and for this variety the construction "in the air" is good. But now I want to focus on OM, classical and flamenco guitars, and that is why I consider all the construction possibilities with respect to the OM type. I think that trying the different alternatives and choosing the most viable solutions is a great opportunity to learn
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