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#46
10-11-2014, 08:11 PM
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Wow, that walnut is looking fabulous under finish! The tiny center strip - flamed maple or something? - that's really shimmering. Stunning.
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#47
10-11-2014, 11:52 PM
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The walnut is trimmed in flamed quartered maple and the magnolia in flamed quartered Koa. The maple shows up better in the photos, but both look pretty intense for their size! Thanks for noticing.
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#48
10-12-2014, 09:29 AM
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I like the look of these!
__________________
Sakazo Nakade Flamenco 1964 Bourgeois D Adi Tasmanian Blackwood 2011 Tom Anderson Strat 1990s Schecter California Classic Strat 1990s Last edited by kirkham13; 10-12-2014 at 09:41 AM.
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#49
10-12-2014, 01:48 PM
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Here is a little clarity on the trim with the second coat just applied.
Maple on the Walnut's German top:  Koa on the Magnolia's Adi top: 
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#51
10-16-2014, 05:59 PM
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Today I put the final coat on 2 bodies and one neck. The other neck will need another.
Now I am considering the Pernambuco, which has entered the zone of potential completion, as it will have cured for ten days by tomorrow morning. Hmmm.
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#52
10-18-2014, 02:31 AM
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An update from the finishing room
After about 10-days of setting up after the last wet out of oil varnish, Bruce continues his finishing process. The individual parts (body and neck) are then bottomed out with a fine sand paper followed by a session with his buffer.
Here is the perfectly quartered German Spruce top post-buffing, showing some medullary silking and irregularly spaced and dark compression grain. As I understand it, compression grain will run a bit denser and stiffer than the normal growth of the tree. Bruce chose this piece based on tap tone and flex vs. cosmetic perfection. I personally love seeing the visual character of the tree's struggle through its life with wind or weight.  The Pernambuco is showing its rich brick/amber tones and quartersawn character under the buffed oil varnish. I am trying to imagine the once 30"+ diameter tree that this guitar came from. The Camatillo binding has darkened to complementary maroon n' purple under finish providing some nice visual contrast. The maple purfling almost sparkles like shell defining the seams and edges. 
__________________
A bunch of nice archtops, flattops, a gypsy & nylon strings…
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#53
10-18-2014, 02:02 PM
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This afternoon I got the neck buffed on the Pernambuco L-00, and here are some shots of the Camatillo plates and heel cap (button) which are looking pretty close to their true color, I'd say:
  Think I'll go put her together! 
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#58
10-20-2014, 07:51 PM
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Fingerboard, Position Markers, Frets and a Bridge
Things are progressing in Bruce's Petaluma studio. The Ebony fingerboard was planed and profiled. MOP Dot position markers were installed as well as EVO fret wire. The bridge is not yet glued in place. It is really beginning to look like a guitar.
 Bruce decided to use some dense/hard, maroon n' purple hued, Camatillo (Mexican Kingwood) for the bridge instead of his more commonly used Ebony. The Camatillo is a much more acoustically active material than ebony with lower internal dampening. The bridge of course matches the wood used to make the binding, headplate and backstrap veneers.  Bruce has subtilely softened the profile geometry of his CF Martin influenced bridge design to better integrate it with some of the the more organic shapes used in his signature asymmetric headstock and pickguard designs. Some of the compression grain in the German Spruce top can be seen running beneath the bridge. 
__________________
A bunch of nice archtops, flattops, a gypsy & nylon strings…
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#59
10-21-2014, 12:51 PM
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Today I am packing to leave tomorrow for the Woodstock event. This means cleaning/buffing and boxing the 2 guitars that will be my checked baggage. I also plan to glue the bridge onto the Pernambuco L-00 which means it will be seriously dry by the time I get back and I'll get her strung in short order. I have made some fresh glue this morning and am cycling it through heat/cold a couple of times before using it.
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#60
10-21-2014, 02:58 PM
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Quote:
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