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  #91  
Old 02-07-2019, 01:37 PM
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Burton LeGeyt Burton LeGeyt is offline
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That is a beautiful bandsaw you've restored. There was a large Crescent at the boatyard where I once worked, and it could've used this kind of TLC.

Beautiful small guitar you've made; I like the little ones!
Was it one of the ones that had to be set below the floor/working surface? I've never seen one like that in person but have always wanted to. In pictures, they are usually in boatyards.
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  #92  
Old 02-07-2019, 01:40 PM
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Oh shoot, I was still holding out hope. There are several of your peeps coming and I know they were hoping you could make it as was I. I still remember playing Matthews at Woodstock and being blown away.

If there is a next year, I would love to invite you to display and sell...maybe put that back in the corner of your mind for me.
I know, I've been watching tickets and trying to figure out a way to make it work. If there is a next year I would definitely love to come. I'll start planning ahead for it anyway!
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  #93  
Old 02-07-2019, 02:39 PM
louis lasky louis lasky is offline
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Holy freakin crow Burton. I'm salivating! Oh yeah, the saw is pretty durn cool too!
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  #94  
Old 03-01-2019, 01:15 PM
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I've been hustling getting ready for the Artisan show in April, hoping to bring 2 guitars. I have the box closed on the first one, the model CL in red spruce and Cuban mahogany.

I've been really into tiny binding, and invisible binding where possible. Anytime I can bind with matching material I am pretty excited to do so and let the wood turn those corners and speak for itself. I was able to source some matching Cuban from Brad Goodman (THANK YOU!) for the back bindings and used some mild figure snakewood for the top. I love it when I can get the top binding to appear almost square, it looks vintage to me, similar to the binding on old #2's from the late 1800's. It sets off the top in a slightly different way and I like it.

Keeping with the snakewood I had an old scab board that had some variation in the color and the lighter colors were so close to the Mahognay that I couldn't resist incorporating them in. Got pieces for the end graft and headplate that shift from snake color/figure to nice plain rust orange. I like it! The lines in the rosette and purfling are snakewood also and do show some slight variation. I've done guitars ike this before where the lines are not black and it adds a subtlety I really like. This one will have a black neck and bridge, so not completely void of black but getting those thin lines to shimmer with color is nice

Anyway- Here are some pictures. The neck is up next and will have to happen fast to get this guy into finish on time.

CL end and head by Burton LeGeyt, on Flickr

CL front close by Burton LeGeyt, on Flickr

CL rosette by Burton LeGeyt, on Flickr

CL binding close by Burton LeGeyt, on Flickr

CL back close by Burton LeGeyt, on Flickr
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  #95  
Old 03-01-2019, 05:53 PM
Carey Carey is offline
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Originally Posted by Burton LeGeyt View Post
Was it one of the ones that had to be set below the floor/working surface? I've never seen one like that in person but have always wanted to. In pictures, they are usually in boatyards.
Just saw this.

The Crescent bandsaw at the yard I worked at sat at floor level, not in
a pit; I'm thinking it was a 36", but it's been a few years (like 25, heh).
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  #96  
Old 03-01-2019, 06:00 PM
Carey Carey is offline
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quote: "I've been really into tiny binding, and invisible binding where possible. Anytime I can bind with matching material I am pretty excited to do so and let the wood turn those corners and speak for itself. I was able to source some matching Cuban from Brad Goodman (THANK YOU!) for the back bindings and used some mild figure snakewood for the top. I love it when I can get the top binding to appear almost square, it looks vintage to me, similar to the binding on old #2's from the late 1800's. It sets off the top in a slightly different way and I like it."


Beautiful work. I like the small and squarish bindings, too. Wish my execution
was as tidy.
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  #97  
Old 03-02-2019, 12:36 PM
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Nice piece Burton! I look forward to stopping by your table at Artisan.
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  #98  
Old 03-05-2019, 10:15 AM
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Nice piece Burton! I look forward to stopping by your table at Artisan.
Please do! Glad you will be there
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  #99  
Old 03-05-2019, 10:20 AM
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I also got this next guitar closed up and leveled. This is the CLM in Swiss spruce and Amazon rosewood. The rosewood is dense, and even after some careful thinning I'm not sure I'm going to be able to keep this guitar under 4 pounds. We'll see.... Still a few tricks up my sleeve.

Bevel cutaway, resin and burl rosette and a resin endgraft that looks like milk glass inlayed in the rosewood. I backed it up with maple and it glows in a really lovely way. I'm trying to come up with something for a backplate that references this but time is short and my experiments so far have been less than. We'll see how it goes.

Here are the pictures

IMG_5253 by Burton LeGeyt, on Flickr

IMG_5256 by Burton LeGeyt, on Flickr

IMG_5257 by Burton LeGeyt, on Flickr

IMG_5255 by Burton LeGeyt, on Flickr
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  #100  
Old 03-05-2019, 12:44 PM
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Nice end wedge Burton. Looks like quartz with gold veins in my monitor. Looking forward to finally meeting you in person in a few weeks. Seems I missed meeting you at the last show?
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  #101  
Old 03-05-2019, 01:09 PM
ruby50 ruby50 is offline
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Burton

I love your sense of design and your material choices. Is there a trick to inlaying all the half-circle pearl pieces in that rosette or is it done on one of your milling machines.

Thanks for sharing, you are alway inspirational

Ed
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  #102  
Old 03-05-2019, 02:02 PM
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Burton LeGeyt Burton LeGeyt is offline
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Originally Posted by Tim McKnight View Post
Nice end wedge Burton. Looks like quartz with gold veins in my monitor. Looking forward to finally meeting you in person in a few weeks. Seems I missed meeting you at the last show?
Hey Tim, that's a good way to describe it- The color shifts slightly depending on whats behind it as its pretty clear. I back painted in the rosette to get more blue/green to set off the burl but left it more clear in the endgraft. There is some iridescence in there, and the gold flake. I really like it!

Definitely like to say hi at the show. I visited Woodstock last October but you all were busy when I walked by. I haven't been to Artisan before but I'm excited to be there this time.
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  #103  
Old 03-05-2019, 02:05 PM
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Burton

I love your sense of design and your material choices. Is there a trick to inlaying all the half-circle pearl pieces in that rosette or is it done on one of your milling machines.

Thanks for sharing, you are alway inspirational

Ed
Hi Ed,

Thanks! They aren't inlayed as half circles but as full circles and then trimmed. The trick on this one was getting the inner line to continue the grain of the burl around it. The work done before inlaying into the spruce is done on my milling machine with a rotary table, a wonderful tool. It makes it almost easy. I also built a tool to guide my laminate trimmer when cutting rosette channels that allows me to move with a similar accuracy, .001" of an inch. It makes fitting everything in the spruce simple, and clean. Making that tool made work like this so much easier.
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  #104  
Old 03-05-2019, 03:16 PM
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Iím a huge fan of your work, Burton, both aesthetic and tone. Keep doing what youíre doing! Love that rosewood guitar.
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  #105  
Old 03-12-2019, 10:59 AM
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Thanks Juston I predict good things to come for that Rosewood guitar......

I'm in a rush getting these guitars ready for Artisan and have been working on the necks. I'm very picky about the neck and neck/neck block joint- it seems like one place a hand builder should be able to make marked improvements over a faster factory setting. My goal is always to make a neck that is stiff and stable, built to pull into ideal relief under string tension, not with the use of the truss rod. The rod is there (sometimes!), but as a fallback, never a structural element.

These photos show a few dirty pics of the layup process. A carbon fiber U channel rod is laid in first and then a pocket is milled out for the truss rod. The rod is shopmade and uses aluminum, titanium, and steel to make a very functional and lightweight double action option to get nested inside the CF. Once it is in the whole extrusion is capped with biaxial CF to close the U shape into a D shape nested low in the neck. It has worked great for me- I don't worry about my necks at all when built this way. It is a total pain to construct but the worry it saves is well worth it.

Here are some shots-

IMG_5265 by Burton LeGeyt, on Flickr

IMG_5266 by Burton LeGeyt, on Flickr

IMG_5267 by Burton LeGeyt, on Flickr
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