The Student becomes the Master - (Vid added)

[Glenn23]

I'm very proud to post two new builds to the forum. After years of building, and very gratifying interaction with this community, I'm handing the mantle over to my son, Kevin. A few of my builds can be seen in these links as a bit of a preview of what is to come from him.

https://www.acousticguitarforum.com/...d.php?t=423497

https://www.acousticguitarforum.com/...d.php?t=456459

https://www.acousticguitarforum.com/...d.php?t=569600

In actuality he started building these instruments during the lockdown and I already know how they turn out (hint: they're spectacular!) but I'll post periodic updates as a way to talk about specific design and construction goals.

Two guitars. One will be a mastergrade sitka with figured walnut back and sides, and the other a luscious waterfall bubinga with a quilted sitka top. The full body bevels will be stabilized, double dyed, maple burl.
One of the primary attributes of the laminated bevels has been to give the sides a dimensional stability that reduces flexure to such a degree that the back and top plates are free to move without dissipation of energy into the supporting rim. Light weight, yet rigid. The ergonomic and beautifully flowing lines are a bonus too!
As I said, I'm so proud and I'm happy to have you come along for the journey. Thanks for watching!

Waterfall bubinga with limba and maple trim


Mastergrade sitka with koa and dyed burl rosette


Full set of base bevels for two guitars


Dyed burl, accordian bookmatched onto limba bevels.

[TomB'sox]

This is cool Glenn, I have always been amazed by your builds and artistry. Your son will have big shoes to fill.

[Mark Hatcher]

Congratulations on your transition. It’s great you have your child to continue on for you!

Mark

[cigarfan]

Very cool Glenn! Incredible stuff.

[Glenn23]

Here are the lovely curves of the head block. Not only are these curves lovely, they're strong! A gentle curve can impart enormous rigidity to an object. Think about a tape measure. That thin strip of metal couldn't hold up its own weight for more than a few inches if it was flat, but put a bit of curve into it and it can extend many feet. (but always two inches short of the end of the board you're trying to reach!) And as pleasing as curves are to the eye, it's the free rigidity applied to the upper bout that really excites me.
Imagine instead of trying to inhibit the torsional forces applied by the strings to the neck, with heavy transverse braces or popsicle sticks stuck on the faceplate, that instead, you had the headblock reach out, like roots, grabbing the entire curve-stiffened upper bout in a firm grasp.
I have a small farm and have knocked over more than a few trees with my excavator, and I can tell you that they're going nowhere until you cut the arching roots, spreading out along the ground. It's not the roots going down that impart strength, it's the roots reaching out. If that structure is good enough to support a massive tree against hurricane force winds, than it's good enough to stabilize a guitar neck, letting the strings vibrate against a rock-solid anchor. We're working with wood after all, let's learn what trees have to teach us!

[Glenn23]

A few more pictures to set the stage.
Here Kevin is gluing the headblock to the laminated sides. The sides on the bubinga guitar are lined with limba, a tonewood made famous by Hendrix's flying V guitars.



Kevin arranges the bevel pieces to tell a continuous story.



Also on the bench is a walnut and sitka guitar.

[Glenn23]

The waterfall bubinga guitar will have these beautiful tresses cascading down its back!

[Gtrfinger]

Wow. That's some beautiful instrument.

Mike.

[Glenn23]

This is the interior shot of the bubinga guitar. This shot always remind me of the acoustic volume of a concert stage. The interior veneers are limba.


Here's a shot of the laminated curved brace that completes the interior substructure of the upper bout.


The walnut guitar has a deeper body and a slightly different design, with the upper substructure having solid branches.


The transition between neckblock and laminated bevels is seamless. Kevin has done an outstanding job of melding the bevel laminations of butternut, Alaskan yellow cedar, Cuban mahogany and dyed maple, with the mahogany headblock!

[dcn]

Wow! If you told me these were build progress shots for a sculpture I’d believe you.

[Glenn23]

Originally Posted by Gtrfinger

Wow. That's some beautiful instrument.

Mike.

Thanks Mike, appreciation from a fine player is always special

Originally Posted by dcn

Wow! If you told me these were build progress shots for a sculpture I’d believe you.

I know Kevin will especially enjoy that compliment. Thanks!

[Glenn23]

Last looks before closing the box, though describing its shape as a box doesn't seem quite right...let's say we're closing the insides of an "outside of the box" shape.

[Nemoman]

That truly is a sculptural work of art!

Thanks for taking us along on the ride...

[Glenn23]

The top is on! The binding channels now need to be hand cut with chisels and razor files. No routers allowed on these slippery slopes.



The channels have been cut and filled with walnut and butternut strips to match the laminated sides. You can imagine how exacting and challenging this process is, and Kevin has achieved extraordinary results. This kid has some mad skills!

Next comes shaping the neck.

[dcn]

Continues to impress - glad to see the curve motif continue up the neck. I wonder what the headstock will look like : )