Steel String Penelope Build Thread for TAMCO

[Nemoman]

Those are really some beautiful woods on this one. That EIR looks amazing--another fun one to watch!

[Mark Hatcher]

Originally Posted by Nemoman

Those are really some beautiful woods on this one. That EIR looks amazing--another fun one to watch!

Thanks Nemoman!

Today I cut and mitred all of the back brace joints and glued her all up;





I also went through my little ritual of creating and setting in my logo. I suppose there are quicker more automated ways to do these or have them done but, I've come to like this process and it's very satisfying to bring a piece of wood up to a shine with basically just your hands.

It's starts with burning in the logo using the latest in 17th century technology;



It's easier to fit the oval to the logo than the logo to the oval;



Then I sand it up to a shine starting with 80 grit paper then 120, 220, 400, 600, 2400, 3400, 4000 and it's getting pretty shinny by the time I get to 8000 grit;



Then I rub in a little fretboard oil;



Open up a spot on the guitar back;



And glue it in;



I always use Koa for this. I like the look of a bit of shine against the unfinished interior of the guitar.

[Mark Hatcher]

I typically do a 1/2" wide tile rosette with purfling but since Penelope is my smaller model I decided to go a little thinner to 3/8ths" on this one. I think it's a little more in proportion with the guitar. The tiles are EIR, mahogany, and spalted Tamarind with ebony borders.
Here are some before and after installation shots of the rosette;











I also made the X-brace and top transverse brace and glue them up as my first layer of top braces;



Thanks!

[Ryudas]

I was almost expecting another "shop cat " photo . On another note, it looks beautiful.

[theEdwinson]

Hey, Mark, I really enjoy your build threads. Your guitars are brilliant, and your photography is superb! It almost seems unfair that one guy (you!) has that much talent.
A couple of things stand out as exemplary here: Your rosette is a really classy piece of fine art.
And the lattice bracing on the back strikes me a a very "sound" concept, both structurally and tonally.
It's clear that you never take the easy shortcut. Your work is so meticulous and well-considered. I'm talking about the guitars AND the documentation. My first career was in commercial photography, so I know how much care and skill it takes to set up such excellent shots. And it sure helps that your "models" are so beautiful!
-Steve

[ukejon]

Hey, Mark, I really enjoy your build threads. Your guitars are brilliant, and your photography is superb! It almost seems unfair that one guy (you!) has that much talent. A couple of things stand out as exemplary here: Your rosette is a really classy piece of fine art. And the lattice bracing on the back strikes me a a very "sound" concept, both structurally and tonally. It's clear that you never take the easy shortcut. Your work is so meticulous and well-considered. I'm talking about the guitars AND the documentation. My first career was in commercial photography, so I know how much care and skill it takes to set up such excellent shots. And it sure helps that your "models" are so beautiful!

+1 on all counts.

[Trevor M]

Hi Mark,

I love the rosette. I can't wait to get my hands on it.

[Mark Hatcher]

Originally Posted by Ryudas

I was almost expecting another "shop cat " photo . On another note, it looks beautiful.

Thanks Elvis, Enzo the shop cat is still getting his bearings now that we we've moved to NH. The shop is a lot larger and he doesn't seem to have established his ownership yet.

[Mark Hatcher]

Originally Posted by theEdwinson

Hey, Mark, I really enjoy your build threads.
It's clear that you never take the easy shortcut. Your work is so meticulous and well-considered. I'm talking about the guitars AND the documentation. My first career was in commercial photography, so I know how much care and skill it takes to set up such excellent shots. And it sure helps that your "models" are so beautiful!
-Steve

Wow! Thanks Steve. You do outstanding design work on your guitars and they look wonderful. I really appreciate kudos from another builder who's work I respect.

[Mark Hatcher]

Thanks Jon And Trevor,

EIR is always a pleasure to work with which helps to keep thing moving along

Mark

[billgennaro]

Mark,

If its not too much trouble, what do you find are the advantages to the lattice bracing on your backs? Does it have anything to do with how thin you like to make your backs?

BTW, I really like the rosette and that top wood looks just perfect!

Bill

[Mark Hatcher]

Originally Posted by billgennaro

what do you find are the advantages to the lattice bracing on your backs? Does it have anything to do with how thin you like to make your backs?
Bill

Thanks Bill,

The advantage of the lattice back is it spreads the support out better for thinner and/or more figured backs. Although it looks like a lot of brace, the actual weight is considerably less than a typical ladder brace set. I make backs three ways, one, just thin enough to feel vibrate while you play the guitar. Two, very thin where the back really starts to participate in producing sound (at the expense of some forward projection) Three, heavier for a reflective back that is better for forward projection.

Hope That Helps!
Mark

[Mark Hatcher]

Here is a picture of the second layer of braces going on. These would be Swiss Spruce finger braces and Sitka sound hole support braces.



Here is a picture of what I will call the unsung hero of guitar design;



A good end block does a couple of things for a guitar, one, it helps balance that neck you've got on the other side making for easier and more comfortable play. Two, it's in a very good spot to have some weight that will actually increase the amount of sustain, improving the quality of sound you get. Why do I say unsung? Well, I've mentioned these qualities on several other builds and have never gotten any comments, at all.
So I guess;
a) I'm stating the obvious and nobody thinks it's worth comment
b) I don't know what I'm talking about and everyone is unusually polite on this subject.
c) Nobody knows what I'm talking about and they just don't care to say anything.
d) Some other unknown

So here are a couple more pics of the unsung hero being mounted in it's unseen humble abode;





Thanks for following along!
Mark

[dk63]

Well, I never said anything about the block because I just thought it acted as an anchor point for the neck. I never thought it would have an effect on the sustain, so thanks for the education! And I love the guitar so far!

[theEdwinson]

Hi, Mark-- I'll chime in on the end block. You are right, this piece is one of the most important parts of the interior architecture of the sound box. I hadn't thought about the extra mass contributing to the sustain, but that is one of the operative principles of sustain.
I've heard of some builders installing a small chunk of steel bar stock or some other counterweight down there also, to counterbalance a heavy neck.

I would add that the grain orientation of the end block is also important. I use either a good, hard, slab-sawn piece of mahogany or maple, or a three layer laminate. A quarter-sawn piece could easily split if the guitar suffers an impact on the butt.

I like the way you shape your end block. On the top and back of the rims, the end block gluing surface is the same width as your linings, right? That makes sense to me too. I think it will allow the top and back plates to move uniformly; uneven width of the gluing surface between the linings and the block might create a dead spot.
Anyway, that's my two cents.