Steel String Penelope Build Thread for TAMCO

[Mark Hatcher]

Originally Posted by theEdwinson

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.

Thanks Steve,

I do match the gluing surface of the end block up to the width of the lining both on top and bottom for the reasons you mentioned. That also eliminates the stress risers that could cause cracks on the top on either side of an end block that extends out into that valuable sound producing soundboard real estate.

[Mark Hatcher]

I got the last of the braces and the bridge plate glued to the top today. Tomorrow I can voice to the top. Here is a close up of the way I join my braces.
The braces have a bit of a "foot" so I need to mitre the base. I don't use larger box joints where braces cross each other because we don't need the extra hard spots or extra weight on the back or soundboard.



Here I am cleaning up the back, gluing on the kerfing and attaching the back;









Thanks!
Mark

[Mark Hatcher]

Here are a couple pictures of the body with the back in place;







Thanks!
Mark

[Nemoman]

Really beautiful back and sides, Mark. Love the Penelope model shape too--very elegant!

[Ryudas]

the back just looks so beautiful without any binding on ^^

[Mark Hatcher]

Originally Posted by Nemoman

Really beautiful back and sides, Mark. Love the Penelope model shape too--very elegant!

Thanks Nemoman and Elvis,

This is my smallest model. With the lower bout just under 15" and an 8 1/2" waist this is a very comfortable guitar to play

Thanks Again,
Mark

[theEdwinson]

This build is a true thing of beauty, Mark! The clean lines, impeccable workmanship, and sumptuous woods are all very inspiring to watch.

I wanted to say also, I think the way you are shaping your braces is very smart. You must have a detailed background in structural engineering, because what you have going on here is, maximum structural integrity, with the lowest possible mass. At least that's how I read it! The wider footprint providing a stable, secure gluing surface, tapering to the taller, thinner "spines" of the braces, looks like you're getting the maximum structural and tonal benefit from your braces.

I like the way you think, Mark.

[Mark Hatcher]

Originally Posted by theEdwinson

This build is a true thing of beauty, Mark! The clean lines, impeccable workmanship, and sumptuous woods are all very inspiring to watch.
I like the way you think, Mark.

Well thank-you very much Steve!
There is a lot to think about when designing and building a guitar
I've had some great teachers like, Frank Finocchio and Ervin Somogyi.
Also, there have been many builders along the way that have been really generous with their time, advise, and friendships. It's an enjoyable obsession!

Mark

[Mark Hatcher]

I got the body closed up today with the top on. It's starting to look like a guitar!







Thanks for viewing!
Mark

[Trevor M]

Starting to look like a very nice guitar.

[Mark Hatcher]

Here I am gluing up the neck with the laminates in place. They will be cross grained Indian Rosewood with maple sides. I also put the black ebony end graft in and started the binding process with black ebony and purfling;









Thanks!
Mark

[Mark Hatcher]

I've got the top binding and purfling in and have started working on the fretboard and neck. Here are some pics of the top and the bottom of the fretboard with the extension that is unique to the Penelope model.







Thanks for viewing!
Mark

[Trevor M]

Exquisite!

[CoolerKing]

Originally Posted by Mark Hatcher

Thanks Nemoman and Elvis,

This is my smallest model. With the lower bout just under 15" and an 8 1/2" waist this is a very comfortable guitar to play

Thanks Again,
Mark

Mark, I really admire your work. For this particular instrument, I really admire the acute angle on the curve of the upper bout. It reminds me of a Madison Avenue Art Deco mannequin.

[Mark Hatcher]

Originally Posted by matthewpartrick

I really admire the acute angle on the curve of the upper bout. It reminds me of a Madison Avenue Art Deco mannequin.

Thanks Matthewpatrick,

Personally, I love the look of a fourteen fret guitar. Twelve fret guitars can have such a sweet sound that you don't ordinarily get with a fourteen fret. Also, with the reduced stretch, twelve fret guitars are really comfortable to play. When it came time for me to design Penelope I wanted all the advantages of a twelve fret conceived through my fourteen fret eye.
My issues with twelve frets designs are they tend to look so squat IMO, especially when they have a flat bottom. Also, I don't like the look of all that extra fretboard going across the upper bout. So knowing what I didn't like I set out to make a twelve fret look more like a fourteen fret.

-I made the bottom very round. I even gave it a tight waist to accentuate how round it was.
-I made the body extra long. In fact, longer than my larger models.
-I reduced the apparent length of the fretboard by putting the little S turn cut away on the end
-I gave it a very open waist to make it more svelte.

With the large radius waist the widest point of the upper bout was moved way up, which created that acute angle to get back to the neck. Somewhere along the line I noticed it was taking on the profile of the headstock which I considered the clincher.

What I find really interesting is that a guitar body is basically the same size as a human torso. And being humans this is the exact size and general shape that we would naturally be the most sensitive to. It's amazing the impact an 1/8th" here or there has.

Thanks Again,
Mark