Freshly cut purfling and binding ledges.
I use tape to hold the binding in place and wrap the body in cotton twill tape to clamp everything up tight.
A sharp scraper is the tool of choice for cleaning up bindings.
This dark binding used with violin purfling is crisp and elegant.
Here are the parts of my new floating tenon adjustable neck joint ready to assemble.
The tenon is glued to the neck and then bolted to the body.
Here I’m checking to make sure the top fits the rims before gluing the box closed.
Here I’m checking to make sure the back fits the rims before gluing the box closed.
Last chance to make any changes before the top is glued on!
The top and back plates are glued on in the go-bar deck.
View of the maple back and sides. The opening in the side is a sound port.
The box is closed and sounds great.
The heel block is made up of stacked pieces of the maple neck stock.
Laying out the parts for the head plate.
Setting the rough shape of the heel with a rasp.
The head plate is glued on and the fingerboard is pinned in place.
This is the stuff that didn’t look like a guitar.
Joining the two halves of the sugar maple back plate.
Rough cutting the Adirondack spruce bracing to size for the top.
Rough cutting the Adirondack spruce bracing to size for the back.
The rim has been radiused and awaits the top and back.
The rosette has been inlaid and is looking sharp. Check out the curl in the spruce top!
I like to install end wedges with the grain running the same direction as the sides. It looks better to me.
Final check on the top bracing before it is glued in place.
Working the neck scarf joint surfaces down with a smoothing plane.
Gluing the neck scarf joint up. That’s a lot of clamps, but they aren’t gorilla-tight, I just like to spread the clamping pressure out.
The top and back plate bracing has been carved to shape.
See the first installment of this guitar’s
I’ve recently started a new build, an adirondack and sugar maple 12-fret grand concert guitar that will be clean and contemporary-looking, with a sound port and paddle headstock featuring really sharp-looking Gotoh “X-finish” tuners. Notably, this guitar will be my first production guitar to use double sides and solid lining, which
I’m pretty excited about. The goals for this guitar’s sound are a focused bass with good carrying power and trebles that are thick, musical and committed.
Two layers of linings are pre-bent, then applied one layer at a time.
The completed rim assembly: each side is made of two sugar maple slats lined with two layers of basswood.
I pre-bend the wood strips I’ll use in the rosette. These pieces are maple and hormigo.
Fitting the rosette rings together in the routed groove.
Success! The rosette strips are all cut to length and dry-fitted together.
The rings are all glued up together and then planed and scraped flush with the surface of the sound board.
See the next installment of this guitar’s