#1
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Where does headplate wood come from?
Hello,
I always see pictures of wood to be used for the back and sides of guitars, but it doesn't seem that there is any "extra." So when matching the wood on the head plate to the back and sides, where does the head plate wood come from? Thanks.
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Martin OM28 (European Spruce/EIR) Collings OM3A (Adirondack/EIR) Greven OOO (Lutz/Brazilian) Greven OO (Lutz/Maple) ARK Senorita S6-12 (Adirondack/Mahogany) Circa OOO-12 (European Spruce/Mun Ebony) |
#2
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Ummmm,..... trees? (sorry couldn't resist)
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Fazool "The wand chooses the wizard, Mr. Potter" Taylor GC7, GA3-12, SB2-C, SB2-Cp...... Ibanez AVC-11MHx , AC-240 |
#3
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DUHHHH, head-plate trees ... to be exact
Seriously, it usually comes from the waist area of the back and many times those two off cuts are then book matched to be used on the peg head. Unfortunately, there is usually only enough wood to salvage for one peg head though. |
#4
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It is rare for the "waist" wood to be wide enough for one piece headplates, which I prefer. My head plates are more likely to come from otherwise unusable backs and sides, from wood bought specifically for the purpose, and especially from LMI's annual parking lot sale which is coming right up and in which they sell everything they put out for $5 a pound. This next sale will be held in conjunction with the semi monthly meeting of the Norhtern California Association of Luthiers (NCAL).
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#5
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I often am doing my own resawing for backs and sides. I usually end up with an odd piece or board remnants that get used for faceplates etc.
Mark
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Mark Hatcher www.hatcherguitars.com “"A conclusion is the place where you got tired of thinking". Steven Wright |
#6
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Quote:
No GMOs were harmed in the making of this message.
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Taylor 815C '59 Gibson LG2 Washburn J4 jazz box, ebony tailpiece Gold Tone open back banjo Anon. mountain dulcimer Creaky old Framus 5/1 50 About 1/2 of Guitar One completed; currently intimidating me on account of the neck geometry. Stacks of mahogany, spruce, maritime rosewood, western red cedar Expensive sawdust |
#7
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Maybe having some very nice, but otherwise unusable scraps is a good reason to do mosaic headstock designs?
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--------------------------------------- 2013 Joel Stehr Dreadnought - Carpathian/Malaysian BW 2014 RainSong H-OM1000N2 2017 Rainsong BI-WS1000N2 2013 Chris Ensor Concert - Port Orford Cedar/Wenge 1980ish Takamine EF363 complete with irreplaceable memories A bunch of electrics (too many!!) |
#8
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Quote:
Vicious circle, is it not?
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Fred |
#9
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When I was cutting Brazilian RW from logs, I would save all the scraps, and mark them as to which log they came from. Not only does it facilitate using headplates that match the back and sides, but it has allowed me to document some of my pre-CITES BR that came with receipts. Another bonus is that you can match the bridge and fingerboard....if you use rosewood for those items. |
#10
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Yes, I guess it is! I was thinking more about what might get cut off from making the backs. Those boards come in rectangles, so I am thinking those off-cuts could be used for mosaic style headstocks.
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--------------------------------------- 2013 Joel Stehr Dreadnought - Carpathian/Malaysian BW 2014 RainSong H-OM1000N2 2017 Rainsong BI-WS1000N2 2013 Chris Ensor Concert - Port Orford Cedar/Wenge 1980ish Takamine EF363 complete with irreplaceable memories A bunch of electrics (too many!!) |
#11
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This is my favorite part of resawing- matching parts!
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Chris Ensor |