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#16
10-06-2011, 07:12 PM
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I am dong my best to explain things so completely in my running commentary that questions are unnecessary.
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#18
10-08-2011, 08:14 AM
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Quote:
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#19
10-08-2011, 08:29 AM
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Of course Peter already has more guitars than he knows what to do with and more showing up all the time. There are a number of rationalizations for having one of mine on hand though. Aside from being the official documentation of our experience together and a sort of trigger device for recalling the specifics of our conversation, my guitar will give him an example of whatiswhatam, a target example of what he is trying to do. In the violin making world, which I also inhabit though to a more limited degree, it is normal for a luthier to have on hand the best historical fiddle available and use it as sign post; "this way to where you're going". Though I already made very competent guitars when I met Eric Schoenberg, the fact that he had at least 2 of the greatest Martins every brought into existence and was able to loan them to me for extended visits made all the difference in my ability to emulate that style of guitar in both look and feel but more particularly in that difficult to define area of tone and character.
Besides all that, my work has proven to be a solid investment in the long run, though the price per share rivals Warren Buffett's.
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#20
10-08-2011, 09:53 AM
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Here are a couple of pics just before I closed the box yesterday.
  
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#22
10-08-2011, 01:15 PM
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First post: Thanks to Bruce!
Greetings to the AGF & thanks to Bruce for the opportunity to observe and perhaps emulate his mastery. He is not only a light-hearted and accomplished luthier, he is an awesome host. I've been happily privileged to be with him in his shop for the last week.
Things have moved quickly. First, and most importantly, I was promoted from observer/student to dust control switch operator and sometimes light switch controller. But strictly most importantly, the detail of what I have seen in Bruce's work has been inspiring. The work has moved quickly since noon on Monday, and by the end of the day yesterday, the body was closed and ready for binding. Bruce in consultation:  Roxie on guard in the shop....  Signing the neck block:  ...and the signature:  Bruce with the closed body yesterday afternoon:  More next week..... Best to all!
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#23
10-08-2011, 03:31 PM
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I think that particular ribbon was "in stock" at JoAnne's Fabrics over in Rohnert Park, the next town north. I have never met Jo Anne, but I think she may have a store near you as well. I have a selection of ribbons which go in and out of favor with me. My favorite ribbon design only goes into my favorite guitar design, the "JB" series, of which I have made about 30 examples now. Peter wanted it in his as well, but I had to turn him down.
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#24
10-09-2011, 10:45 AM
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Bruce, do you mean to tell me you don't offer your finest fabric as an upgrade on your custom builds? Now that the cat's out of the bag, I have a feeling you're going to see a noticeable drop off in orders!
Last edited by Leftyprs; 10-09-2011 at 10:54 AM.
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#25
10-09-2011, 11:14 AM
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Oh, he could have had it, but he was unwilling to upgrade to a JB.
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#27
10-10-2011, 05:49 PM
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We spent much of today dealing with the binding. Here is where we left it:
 Though it is possible to put on two edges, or even all four, at one time, I find it too stressful, and also the joinery is then more questionable. Here is a close up of the spot where the 2nd quarter's purflings encounter the first quarter's.  Tomorrow should see the rest of the binding, the endgraft, the dovetail, and the fingerboard glued onto the neck! Friday I glued on the head face veneers, and today the head back veneers. The camera chose to focus on the clamps, and I am to slack to shoot it again. 
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#28
10-14-2011, 09:22 PM
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Peter's guitar got it's first coat of Varnish today. I have been w/o Internet for a day and a half, and finally got it back since leaving the shop today. Tomorrow I will try to find the time to get a couple of eye candy shots up for you.
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#29
10-15-2011, 01:05 PM
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Peter's guitar has gone into finish, which in a sense means it is done. Not that Peter could possibly agree with that. Here are some pics:
  
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#30
10-15-2011, 02:05 PM
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Looks awesome Bruce!
Question for you if you don't mind. I've noticed on a few makers build threads that they mount the truss rod flush with the top of the neck (before the fretboard is on) with no covering spline. This of course leaves that open gap under the nut as shown there. I'm curious as to your thoughts on this. I trust that there is no detriment to the nut when built like this. The truss rod should never bear up on the nut under proper build criteria (flat fretboard, string tension, using truss rod to induce slight back bow for relief) correct? I'm trying to configure my question but it's not seeming to come out right. Anyway, some folks like the spline, some don't, maybe it doesn't really matter much...looking for enlightenment I guess
__________________
Rod True, aspiring luthier My current project A guitar I built for my Father in Law The Celtic Beauty - The Epic Journey True SJ - #9
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