'nother L-OO

[darren]

Jim, the bracewood is mostly sitka. there are some mixed in that I split from some SPF.

I listed the dimensions a few posts above, I used the Grellier plans as my starting point. I've already lowered the x intersection to 13mm and changed the triangle profile to start lower on the braces. The tone and finger bars have been reduced more than the x. Now that the cap has been glued on, I can take some of the meat out around the intersection. Surprisingly, the tap tone hasn't changed much. I don't know what to listen for, but maybe that's a good thing, I've reduced weight, but not changed the resonance of the top. Just a guess anyway. :)

Any other comments?

[kencierp]

Those tone/bass bars look very beefy to me? Overall appears (just a guess from here!) seems to be over built.

I would keep in mind that the L00 is a bit famous or rather infamous for have bracing that in the long haul failed -- in other words too light for a "production" model guitar. On the other hand that is exactly (in my opinion) what contributes to the desire/expected sound characteristics of the L00.

Keep in mind if the intent is to use light gauge strings the bracing needs to designed in such a way so that the sound board can be lively under the lower tension. But don't over look the fact that a guitar's tone and sound quality can be changed dramatically by simple changing the string gauges. I have in fact often used custom string sets to get the sound qualities various customers found pleasing to their ears.

[darren]

Those tone/bass bars look very beefy to me? Overall appears (just a guess from here!) seems to be over built.

I would keep in mind that the L00 is a bit famous or rather infamous for have bracing that in the long haul failed -- in other words too light for a "production" model guitar. On the other hand that is exactly (in my opinion) what contributes to the desire/expected sound characteristics of the L00.

Keep in mind if the intent is to use light gauge strings the bracing needs to designed in such a way so that the sound board can be lively under the lower tension. But don't over look the fact that a guitar's tone and sound quality can be changed dramatically by simple changing the string gauges. I have in fact often used custom string sets to get the sound qualities various customers found pleasing to their ears.

Thank you Ken, remember I'm deviating from the L00 plans with a scale length of 25.5 and will be using mediums. (13-17-26-36-46-56. Dean Markley Alchemy Goldphos to be exact) So, I want to avoid bracing that will fail in the long run...don't want to be overbuilt though. that is the balancing act, isn't it? I'm going to dig up some L00 bracing shots for comparison.

[darren]

I'm familiar with the cube rule of stiffness and I'm in the process of re-shaping the profile of the braces. Those are good illustrations and a good reminder... see the finger brace here, this is where I'm going: (the x is still in need of re-working)

topbracing-008.jpg

[darren]

Here is the top as it looked when I finally said 'enough':

topbracing-011.jpg

and I got the top and back glued on as well. couple clamps at the endblocks and some rubberbands snug down the rest of the plate to the rim.

topbracing-013.jpg

I put a heavy coat of shellac on the top, this weekend I should be able to trim the top and back, and maybe have the rims cleaned up and ready for binding.

[naccoachbob]

Also got the finger board bound, fretted and cleaned up. Thanks to KenC, JohnH and JohnP for helping me get those fret ends to sit down tight.

fb-001.png

fb-002.png

Darren, please walk me thru your binding of the fretboard. I intend to do something very similar and would appreciate your input.
Thanks,
Bob

[darren]

Hi Bob,
I cut the slots and taper the board to its final dimensions minus the binding/purfling, keeping the center line in the center.
I bound the sides first, overhanging the binding at the nut and soundhole ends.
Trimmed the binding flush at the nut end, and cut it about 45 deg. for the mitre at the soundhole end. (it's not a 90 deg angle, after all.)
Took about 4 tries for me to get the end binding piece tight against the fretboard and against the side binding. It seemed like by the time the rosewood binding was fitting good the maple purflings had gaps at the end. So eventually I glued the purfling and binding on in two glue-ups.
Finally, I scraped the binding down and hit it with the radius block until everything looked nice.


Fretting is another story, here is the thread where I asked for assistance with that...viewtopic.php?f=5&t=2854

hope this helps get your head around the process.

I'm also binding the headstock so when I can I'll post that procedure here.

[darren]

Also got the finger board bound, fretted and cleaned up. Thanks to KenC, JohnH and JohnP for helping me get those fret ends to sit down tight.

fb-001.png

fb-002.png

Darren, please walk me thru your binding of the fretboard. I intend to do something very similar and would appreciate your input.
Thanks,
Bob

By the way, good to see you around again!

[darren]

Ok... I decided mid stream to do a bound headstock so after reading a bunch and staring at my headstock for hours this is the path I took.

What I wanted to do was raise the plane of the headstock in relation to the plane of the fretboard, so that the bottom of the binding will align with the bottom of the fretboard. This is achieved by adding a little shim to the neck blank and sanding it to the angle of the headplate:

headstock-010.jpg

headstock-011.jpg

routed for the binding+purfling. Have to stop as the bit reaches the fretboard surface so i finished up with a chisel.

headstock-001.jpg

[darren]

gluing the binding and the binding scraped down, headstock ready for drilling and slotting.

headstock-004.jpg

headstock-005.jpg

headstock-008.jpg