#16
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A different take on the bird's beak. I like it!
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Life is like a box of chocolates .... |
#17
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#18
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Thanks Cigarfan. It was a bit of a trick, getting the curve of the neck, the edge of the katalox and the line of the headstock to meet up at a single point, but I think I've got it!
One of the most important reasons for using laminated sides is the precision and stability it gives me. All trees move in response to the sun as they grow throughout the day and the seasons. Laminating evens out these micro-tensions and becomes even more important with the highly figured woods we all like to use. I tried laminated sides as an experiment years ago and have never looked back. Which is not to say some guitars with solid sides don't achieve exquisite results. I just think the odds of sonic excellence increases slightly with very stable rim. |
#19
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The upper bout, with a patch of fiddleback mahogany to back up the soundport openings. For some reason this view always reminds me of a philharmonic stage.
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#20
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An appropriate subtitle for this installment might properly be, "Things that keep luthiers up at night."
Here is a look at an instrument I built several years ago. You can find it's thread here: https://www.acousticguitarforum.com/...d.php?t=423497 This guitar has a feature that I actually like quite a bit, but I wanted to try something different on this new guitar. If you look closely you can see that the trim lines between the bevel and the fiddleback side is actually the laminated sides being exposed. This appeals to my desire that design should arise from purpose. On my new guitar I decided I wanted to treat the line work along the bevels symmetrically. This leads to the dilemma of what to do where all lines join. You can see on my older guitar that the upper pair of lines lay on top of the bottom pair. How can I make this intersection more symmetrical? The problem is that the outer surface of the sides would need to extend up just a tiny bit more, for the top, bevel and sides to come together in a single point. A construction nightmare! Later on you'll see the solution I came up with. But the first thing I have to do is figure out how to handle the tight, compound curve on the lower trim pieces. Here's what I did. The compound curve trim piece. And glued into place. I'm still having a hard time fully visualizing how this will all come together, but I think I've got it sussed. It's a case where the luthier is caught in his own trap and I'll have to "Wait and see what happens next!" |
#21
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Roughing out the smooth parts.
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#22
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#23
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I don't usually seal the interior with a wash coat, but I thought I'd try it here, if for no other reason than to bring out the gold!
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#24
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I agree with Dennis
This birds beak HS is quite nifty.
Very interesting build design and philosophy! Fun to watch! Thanks for sharing Paul
__________________
4 John Kinnaird SS 12c CUSTOMS: Big Maple/WRC Dread(ish) Jumbo Spanish Cedar/WRC Jumbo OLD Brazilian RW/WRC Big Tunnel 14 RW/Bubinga Dread(ish) R.T 2 12c sinker RW/Claro 96 422ce bought new! 96 LKSM 12 552ce 12x12 J. Stepick Bari Weissy WRC/Walnut More |
#25
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Really enjoying following this thread--amazing attention to detail with a high level of difficulty.
Dig the dual soundports too! Great work--thanks for sharing--would love to hear it when it is done!
__________________
2013 Stehr Auditorium (Carpathian/Myrtle) 2015 Stehr Auditorium (Adi/BRW) 2020 Baranik Meridian (Blue Spruce/Manchinga) 2020 Wilborn Arum (Tunnel 14/Coco) 2021 Kinnaird Graybeard (BC Cedar/Bog Oak) 2022 Kinnaird CS Student Build (Adi/Padauk) 2023 Kinnaird FS (Italian/Koa) |
#26
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Glen23
I've never heard the sound of your creations and at this point I don't care (not what a luthier wants to hear, eh?) but am so taken with your wood working abilities that the sound is secondary. Yeah, been guitaring for 4 years and wood carving for about 40, so guess what I know and appreciate.... No, I'm not that much of an idiot. Would really love to hear how they sound but judging from your work, they have to have a sound equal to the beauty of the guitar. Have always enjoyed watching people that enjoy their work and are good at it, even if it's just digging a ditch. They become one with the job and it's like a carefully choreographed symphony, your work reminds me of that. Appreciate seeing the process and, like the others, can't wait to hear the final result. john |
#27
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Beautiful set of Katalox. I look forward to seeing it under finish. I don’t know why people are not building more Katalox guitars.
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#28
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If you can’t wait, Glen23’s Mahogany and Red Spruce build is one of my favourites. In post #86 there is a sound clip of this guitar (still recommend reading the whole post). You can find it here - https://www.acousticguitarforum.com/...d.php?t=423497
__________________
Ian K. 2018 Michaud OO-R 2012 Webber Dreadnaught *SOLD* 2010 Eastman E20OM 1994 Guild D30 1979 Yamaha FG375S (retired) 1974 Norman B30 (retired) |
#29
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Ian..thanks. Been reading the post but missed this.
john |
#30
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The idea that the process of making art is as important as the finished object. A "journey is the destination" sort of thing. I do love my time in the trenches. Quote:
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