Thanks for the kind comment, I appreciate you noticing those two things.Classicalmark wrote:That is a very beautiful guitar. I particularly like the rosette and head stock. The headstock ornamentation reminds me of Simplicio guitars that I have seen (never played though). Thanks for sharing.
It is a piece of hard maple, let in to add stiffness to the neck. Never used a truss rod or carbon fiber...still using wood.StevSmar wrote:Thanks for posting about the guitar you're building. Fascinating.
What's the reason for the light coloured wood recessed into the neck?
Interesting that Australian Blackwood is like Koa, I'll have to look for some next time I visit Australia
You're welcome.iim7V7IM7 wrote:Thanks for sharing this work sequence. What is the application of cyanoacrylate to the ebony fingerboard for?
Peter Oberg wrote:You're welcome.iim7V7IM7 wrote:Thanks for sharing this work sequence. What is the application of cyanoacrylate to the ebony fingerboard for?
Regarding the cyano, the thinking is that flooding the board with it will help stabilize the ebony, which is notorious for continuing to dry and shrink, even after years of seasoning in a shop.
The advantage of a good, sharp drawknife is that it is fast. There is a minimum of 3 mm of wood in thickness to remove, so I can get rid of that quickly, then change to the spokeshave, a knife, a scraper, and sandpaper. If you start wtih a thinner neck blank, the heel to neck joint will creep out on the flat of the neck, and become almost feathered. Plus I like the look of the joint landing up a bit on the curved surface.Charles Simons wrote:Do you find using a drawknife more controllable than a spokeshave or is it just faster?
Looking very awesome!
begin? if that guitar visually blossoms any more, i'm going to have to sell a kidney....iim7V7IM7 wrote:Beautiful Peter...
Once you get some french polish on it, the flamed curl of the koa and the hazelfichte in the engelmann will begin to visually blossom.