#271
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Here are some of my observations and I am speaking only from my experience and perspective: Best, in power tools means faster. Best in hand tools means accurate. Power makes work faster with power tools. Faster with hand tools isn't the goal it is a by-product of skill and mastery. Power tools want you to "build to the tool" Hand tools want you to "build with the tool" The less power you have between you and your work the closer you are to it. I bought a new house with a separate building to put the shop in only because of the noise and sawdust made by the power tools. Glue joints on planed wood are much, much stronger than sawn or sanded wood. Wood finished with a mastered smoothing plane is much better than anything you can do with sandpaper. I am likely to live longer. for a variety of reasons, if I build with mostly hand tools. I'll more likely die still being able to count to ten on my fingers if I stick with hand tools. I'm not a woo-woo guy so I won't talk about the "magic of working with hand tools but I will say I'm not vibrating after working with hand tools for hours like I do after working with power tools. There is a lot less maintenance and cost working with hand tools. Hand tools did not stop evolving when they came out with electricity. There are amazing tools being made today. Finally, I sometimes feel I am doing art when I make a guitar and I love that I am making art for artists. There are artist making hand tools that could be had for artists making art for artists. Take a look at a couple of these: I originally set my shop up with a separate large power tool room. I am in the process of moving all my power anything tools into that room and making my regular work space hand tools only. I have to say this is the most exciting time of my building career. Honestly, I haven't figured out how to hand cut the fine purfling lines that are in that last Woodsman rosette and I used a router, but I'll get there. I'm giving myself 5 years to learn my way into electric free. Of course your opinion may vary! Mark
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Mark Hatcher www.hatcherguitars.com “"A conclusion is the place where you got tired of thinking". Steven Wright |
#272
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Mark thanks for taking the time for the comments. Those are some incredibly gorgeous hand tools.
You have some beautiful work. |
#273
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Ditto. It's been fascinating to see your journey to this point, Mark. Hearing your latest thoughts is always informative and thought-provoking.
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#274
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OK let's get back to that Woodsman Here I have the first side bent and the second in the side bender: Then with both sides in the bender they are joined by gluing in first the end block and then the neck block: The Spanish Cedar kerfing and side braces are glued in and trimmed: From there we can work to close up the body of the guitar: It looks old already. And that's because it is old. The Eastern Black Walnut was milled over a 100yrs ago and that old growth Redwood was milled over 150yrs ago. Thanks for viewing! Mark
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Mark Hatcher www.hatcherguitars.com “"A conclusion is the place where you got tired of thinking". Steven Wright |
#275
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yes, it looks old which is really cool. Another great Hatcher coming down the tracks!
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PS. I love guitars! |
#276
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I always love your work Mark, always!!!
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Wayne Irvin Johnson www.irvinguitars.com my current guitars; 2014 personal build eir/cedar 25.4 2020 Irvin SJ eir/tunnel 13 redwood top 25.5 guitars I have owned; 1977 Martin D-28 2006 Tom Doerr Legacy Select 1956 Gretsch White Falcon 2011 Taylor GA3e 1967 Silvertone 1969 Stella Harmony |
#277
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Mark
I love your description of your love for hand tools...it's inspiring! The Woodsman is coming along quite nicely! I really dig that model!
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Treenewt |
#278
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Thanks Wayne! Quote:
The next step is to select and put in the binding and end graft. Since it is a really old looking guitar already we decided to stick with the old look and go with 5,000 yrs+ old Bog Oak for this step. It's amazing how big these ancient Oak trees were; They have been so wet for so long that they shrink by as much as 25% in diameter when dried. It takes time and skill for them not to crack apart in this process. However, that does make chunks available to use for parts though. Here I am planning the binding pieces to thickness and then a picture of the binding and one of those chunks I got for making such parts; Then it's just a matter of bending the binding, cutting the channels and gluing it all in; Thanks for following along! Mark
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Mark Hatcher www.hatcherguitars.com “"A conclusion is the place where you got tired of thinking". Steven Wright |
#279
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I have a hand drill like the one in your photo. I bought it new 60 years ago, but I seldom use it these days.
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#280
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However, hand drills peaked around 60 years ago. The thought and workmanship that went into those has not been equaled since. After a lot of research I got this 1957 Millers Falls 5A drill. I found a tool restorer named Wiktor Kuc out of New Mexico who meticulously brings the tools back to new (or better) using all original parts. It is superbly balanced horizontally and vertically. The frame is malleable iron and the handles are Tigerwood hardwood. It has double pinion gears for smooth operation. The main gear is extra thick so when you are doing extremely fine work with small bits you can hold the drill with the side handle and comfortably grip the main gear to spin a fragile bit. The nickle plated collet is spring loaded and takes up to a 1/4" drill shaft. This has a lot of guitar applications and I'll never again worry if my batteries are charged! OK, back to the Woodman; I'm onto the neck now. I am making the neck from 250yrs+ old sinker Mahogany from Belize. I got a number of boards with the Woodsman in mind. I also used this wood for some of the internal components like the neck block; I am also doing the traditional bird's mouth joint for the headstock: We also decided to go with ancient Bog Oak for the Fretboard; The Headstock overlay selected will be from the same 100 year old Black Walnut the back and sides are made from. It is the third one, all the way to the right; It has some nice figure on the bottom and some clear real estate up top to sink the Stag inlay into. Thanks for viewing! Mark
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Mark Hatcher www.hatcherguitars.com “"A conclusion is the place where you got tired of thinking". Steven Wright Last edited by Mark Hatcher; 11-17-2020 at 04:16 PM. |
#281
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Great series of posts about hand work and hand tools. Very inspiring indeed.
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My YouTube Page: http://www.youtube.com/user/ukejon 2014 Pono N30 DC EIR/Spruce crossover 2009 Pono koa parlor (NAMM prototype) 2018 Maton EBG808TEC 2014 Hatcher Greta 13 fret cutaway in EIR/cedar 2017 Hatcher Josie fan fret mahogany 1973 Sigma GCR7 (OM model) rosewood and spruce 2014 Rainsong OM1000N2 ....and about 5 really nice tenor ukuleles at any given moment |
#282
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Yes!
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I could use any of his tools, but if I didn't put it back where it belonged I would go hungry until I found it! Wish I still had those tools... These instruments are so sweet! Love the new/old concept. Carry on and have fun Paul
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3 John Kinnaird SS 12c CUSTOMS: Big Maple/Cedar Dread Jumbo Spanish Cedar/WRC Jumbo OLD Brazilian RW/WRC R.T 2 12c sinker RW/Claro 96 422ce bought new! 96 LKSM 12 552ce 12x12 J. Stepick Bari Weissy WRC/Walnut More |
#283
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I've been organizing my guitar woods sets. I have 43 different species of back/side sets and I've been adding to my tops woods lately. One thing I find more inspiring than great hand tools is new woods! I was talking with my supplier about my Red, White and Blue guitar and he loved the concept and commented, "I have a couple of those float wood bear claw Sitka sets with the Red, White and Blue in them". Well, now I have them!; While I was at it I also got a really dark Blue set too; Amazing bear claw on that one! I also picked up two curly Sitka sets. Curly Sitka, you don't often see curly Sitka!; I'm an inspired guy! Mark
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Mark Hatcher www.hatcherguitars.com “"A conclusion is the place where you got tired of thinking". Steven Wright |
#284
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Wow, Mark, what a spectacular collection of wood and tools! Thanks for sharing them! Dave
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#285
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I don't think I have ever seen curly sitka. Incidentally, I like the bear claw better - and also the RW&B.
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The Bard Rocks Fay OM Sinker Redwood/Tiger Myrtle Sexauer L00 Adk/Magnolia For Sale Hatcher Jumbo Bearclaw/"Bacon" Padauk Goodall Jumbo POC/flamed Mahogany Appollonio 12 POC/Myrtle MJ Franks Resonator, all Australian Blackwood Goodman J45 Lutz/fiddleback Mahogany Blackbird "Lucky 13" - carbon fiber '31 National Duolian + many other stringed instruments. |