#16
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Sides bent, end blocks in:
For anyone who may wonder what the blotches on the top of the neck block are: After installing the threaded inserts for the neck angle adjustment set screws, I dripped water-thin CA glue (aka "super glue") in around the inserts, to be sure they will stay put for eternity. The CA penetrates the wood and wicks right through the grain, so you see it on the end of the block at this stage of construction. Last edited by Todd Rose; 01-17-2016 at 08:13 PM. |
#17
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A better look at the neck block.
The three threaded inserts are for set screws that will bear against the inner face of the neck heel*, allowing for adjustment of the neck angle. Think of the three set screws as a tripod that the neck stands on. The hole above the lower insert is for the bolt that will hold the neck on, which will thread into a threaded insert in the heel. In later photos, you'll see why there's that groove in the block. Too much to explain right now. *Not directly against the wood of the heel, but against brass inserts set into the wood . Last edited by Todd Rose; 01-17-2016 at 08:14 PM. |
#18
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Quote:
Martin profiles their braces to a bullet shape before they are glued to the sound board. You can not achieve a tight lap joint unless you have rectangular braces at the joint. Since they do not have rectangular braces at the joint, the joint is not tight. See the picture below: Now look at Todd's lap joints. Tight as a frog's bottom! And now you know why Martin and pretty much all of the big guitar manufacturers use a cloth patch. Some boutique builders use the cloth patch on their guitars in keeping with tradition, but a cloth patch is not nearly as strong as a wood cap like Todd uses. |
#19
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Quote:
__________________
1967 Aria Classical 1974 Guild D50 2009 Kenny Hill New World Player Classical 2009 Hoffman SJ 2011 Hoffman SJ 12 https://paulashley.weebly.com/ https://www.youtube.com/c/PaulAshley https://www.reverbnation.com/paulashley |
#20
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Just a couple of run-of-the-mill construction photos here, but perhaps of interest to some of you.
The bandsaw works great for trimming the excess off the sides. Sorry I can't shoot photos while I'm actually cutting. The rim is held vertically, tilted just enough to clear the blade guard, and zip zip around I go, staying just wide of the profile lines I earlier scribed. Then the rim profile is refined in radiused sanding dishes, 28 foot radius for the top and 15 foot for the back. Last edited by Todd Rose; 01-17-2016 at 08:15 PM. |
#21
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A fun little construction method detail that the very observant among you may have already noticed... for each body shape I make, I have two identical molds. They stack on top of each other and pin together, which is very useful for certain operations where I want the entire height of the rim fully supported by the mold, like when I'm gluing in the end blocks. For other operations, like sanding the edges of the rim, I use just one mold.
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#22
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Tell you one thing ... I've toyed off and on with trying my hand at making a guitar. Watching these threads has me thinking I'll stick to playing what you make sing.
__________________
1967 Aria Classical 1974 Guild D50 2009 Kenny Hill New World Player Classical 2009 Hoffman SJ 2011 Hoffman SJ 12 https://paulashley.weebly.com/ https://www.youtube.com/c/PaulAshley https://www.reverbnation.com/paulashley |
#23
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Side tapes and linings in...
Last edited by Todd Rose; 01-17-2016 at 08:17 PM. |
#24
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Last edited by Todd Rose; 01-17-2016 at 08:18 PM. |
#25
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...and side sound port cut.
Last edited by Todd Rose; 01-17-2016 at 08:18 PM. |
#26
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Last edited by Todd Rose; 01-17-2016 at 08:19 PM. |
#27
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Looking great, Todd! I really like the shape of the guitar.
Joel |
#28
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Thanks, Joel!
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#29
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You'll soon see what this thing is.
Last edited by Todd Rose; 01-17-2016 at 08:20 PM. |
#30
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All drilled out and ready to go in place.
Last edited by Todd Rose; 01-17-2016 at 08:20 PM. |