Unlikely that I'll be keeping this one for myself. It will be my main exhibition guitar for 2015, and if it doesn't sell at any of the three events I have planned, then it will be going up for sale on my website (and probably here as well).Paul Janssen wrote:I hope you are planning to keep this for yourself as a momento?
Even the dyed maple veneers can vary a fair bit. Because I needed them 0.33mm, I had to scrape them all down anyway, but the initial thickness of the white and the various greens varied from 0.48 to 0.65. The Veritas scraper/thicknesser shown in the photo was great for this - much easier and quicker than a pull through scraper.Michael.N. wrote: I intend to revive that rosette but just use all dyed Maple veneer. No more thicknessing!
Carving is not really my thing, but there might be a subtle inlay on the head...HNLim wrote:Congratulations! Don't forget to add some carving to the headstock and on the wings of the bridge.
I had similar thoughts, Erik.Erik Zurcher wrote:Exciting project, James! Will it be finished before the CGR? I would love to hear it played by Matthew.
Bog Oak is still hard. Not sure whether there is much difference between it and this modern stuff that they call Oak.Dave M wrote:Well there's a thought: oak for the fretboard.
It is pretty hard and stable and you can often find the middle boards from the stack at the wood yard which are quartered. I wonder which oak your student used...? American white oak is probably the most dense and hard that I have used for furniture making.
This would work well with my imagined all blond guitar.
I find it hard to figure bog oak. Is it really still hard enough after years of immersion?
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