Exquisite Vine Inlay Diane. Very pretty. Nice work...Diane Kauffmds wrote:Fretboard is COMPLETE !
Guitar #2. 00-12 Fret with Engelmann/Cherry
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RnB
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Re: New Project. 00-12 Fret with Engelmann/Cherry
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Diane Kauffmds
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Re: New Project. 00-12 Fret with Engelmann/Cherry
Thank you so very much. I've made 2 fretboards with 42 style inlay, and one headplate with a rose inlay. This was a bit more ambitious.RnB wrote:Exquisite Vine Inlay Diane. Very pretty. Nice work...Diane Kauffmds wrote:Fretboard is COMPLETE !
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John J
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Diane Kauffmds
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Re: New Project. 00-12 Fret with Engelmann/Cherry
Thank you John.John J wrote:Wow. Beautiful work Diane.
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Diane Kauffmds
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Re: New Project. 00-12 Fret with Engelmann/Cherry
I've sized and profiled the rims, installed the neck and tail blocks, and installed the kerfing. Today, I inlaid the pommele mahogany end wedge with BWB purfling.
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Last edited by Diane Kauffmds on Tue Jul 21, 2015 5:17 pm, edited 1 time in total.
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Kevin Sjostrand
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Re: New Project. 00-12 Fret with Engelmann/Cherry
The fret board is amazing!
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Diane Kauffmds
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Re: New Project. 00-12 Fret with Engelmann/Cherry
Thank you Kevin.Kevin Sjostrand wrote:The fret board is amazing!
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johnnparchem
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Re: New Project. 00-12 Fret with Engelmann/Cherry
yes amazing inlay work. The guitar looks to coming along nicely as well.
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Diane Kauffmds
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Re: Guitar #2. 00-12 Fret with Engelmann/Cherry
After a brief hiatus to have surgery on my right paw, I'm starting again. I've gotten a lot done in the past couple of days. I braced the top and back yesterday. I just got done voicing the top and back. They are ready to install on the sides. I started at 0430 this morning; I'm hoping to get the box together today, but that may be a bit ambitious.
This guitar is turning into an experiment; either it'll sound great or it'll be great fuel for the fireplace.
I decided on a 10' radius for the back; I made this decision based on the Taylor GS Mini, which has a great bass response, while still having a well rounded voice. I thinned the back to the Martin 00-42SC model specs of .095", so I figured the smaller radius would allow for greater strength, as well as bass. The tap is excellent, with good sustain.
This guitar is turning into an experiment; either it'll sound great or it'll be great fuel for the fireplace.
I decided on a 10' radius for the back; I made this decision based on the Taylor GS Mini, which has a great bass response, while still having a well rounded voice. I thinned the back to the Martin 00-42SC model specs of .095", so I figured the smaller radius would allow for greater strength, as well as bass. The tap is excellent, with good sustain.
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Last edited by Diane Kauffmds on Tue Aug 18, 2015 12:05 am, edited 1 time in total.
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Diane Kauffmds
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Re: Guitar #2. 00-12 Fret with Engelmann/Cherry
I had a hard time deciding on the bracing scheme for the top. I owe a thank you to johnnparchem, who was a tremendous help.
The top has turned into a monster experiment. I thicknessed it to .100". I want to increase the bass response, since it's a 00, so I forward shifted the braces. But in doing so, I had to increase the angle of the X-brace. Since this is a 00-12 fret, the bridge is shifted about 1" toward the bottom of the guitar. As a result, I ended up with a VERY W-I-D-E bridge patch! Of course, this is in the lower bout where I had hoped to get increased bass response.
Big Note to Self: SELF, LISTEN UP!!! Decide on your bracing pattern BEFORE designing and installing the bridge patch!
Originally, I had decided that one finger brace would be sufficient, along with 2 tone bars. I got to thinking about the size of the guitar. It seemed like it would be over braced with 2 tone bars. I decided to post a question in the forum. Thank you to John Hall for his answer, and this is where johnnparchem was a huge help, since he's done this kind of bracing scheme. After getting the information from the two John's, I decided on a single tone bar.
But (isn't there always a but?), I had already designed the bridge patch to accomodate 2 tone bars, and installed it. Since the patch is so wide, I made it thinner and radiused it to match the top, to remove mass, but I cut it off grain, so that the bridge pins and strings won't sit on the grainline; It should lend strength, without bulk (famous last words). Since I decided on the last minute bracing change, I had to graft a piece onto the left side, since I shifted the single tonebar at a steeper angle (hence my self note).
The bridge patch is made of mahogany, thanks to LMI's great packaging. They sent some binding packed between 2 nice pieces of mahogany and I am not one to waste wood, especially mahogany.
I still may add 2 pieces of soundhole type bracing, to be placed on either side of the neck block. This would prevent any cracking of the top by the fretboard extension, a problem that I've seen several times in old guitars.
The top has a very nice tap with sustain:
The top has turned into a monster experiment. I thicknessed it to .100". I want to increase the bass response, since it's a 00, so I forward shifted the braces. But in doing so, I had to increase the angle of the X-brace. Since this is a 00-12 fret, the bridge is shifted about 1" toward the bottom of the guitar. As a result, I ended up with a VERY W-I-D-E bridge patch! Of course, this is in the lower bout where I had hoped to get increased bass response.
Big Note to Self: SELF, LISTEN UP!!! Decide on your bracing pattern BEFORE designing and installing the bridge patch!
Originally, I had decided that one finger brace would be sufficient, along with 2 tone bars. I got to thinking about the size of the guitar. It seemed like it would be over braced with 2 tone bars. I decided to post a question in the forum. Thank you to John Hall for his answer, and this is where johnnparchem was a huge help, since he's done this kind of bracing scheme. After getting the information from the two John's, I decided on a single tone bar.
But (isn't there always a but?), I had already designed the bridge patch to accomodate 2 tone bars, and installed it. Since the patch is so wide, I made it thinner and radiused it to match the top, to remove mass, but I cut it off grain, so that the bridge pins and strings won't sit on the grainline; It should lend strength, without bulk (famous last words). Since I decided on the last minute bracing change, I had to graft a piece onto the left side, since I shifted the single tonebar at a steeper angle (hence my self note).
The bridge patch is made of mahogany, thanks to LMI's great packaging. They sent some binding packed between 2 nice pieces of mahogany and I am not one to waste wood, especially mahogany.
I still may add 2 pieces of soundhole type bracing, to be placed on either side of the neck block. This would prevent any cracking of the top by the fretboard extension, a problem that I've seen several times in old guitars.
The top has a very nice tap with sustain:
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