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Making a Concert Classical Gui with
John S. Bogdanovich
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Tis booklet may be used as a guide to the purpose and content of this DVD instructional series. will also find a brief overview of the content for each disc along with some background behind the this DVD series and on guitar building in general. Tere are also sections that may be helpful for fi guitar builders and aspiring luthiers as well. Tese sections were added to address some frequently tions received after the release of the book.
able of Contents Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Background Behind the DVD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DVD Content . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Disc 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Disc 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Disc 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Disc 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Disc 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Reading . . . . . . . .a. .Preview ......... ................. ........ Disc 6 . . . . . . . . . . . . . . . . . . . . . . . . . .You're . . . . . .full . . access . . . . . with . . . .a.free . . .trial. ..... ................. ........ Disc 7 . . . . . . . . . . . . . . . . . . . . . . . . . Unlock . . . . . . . . . .With . . . . Free . . . . .Trial ...... ................. ........ Disc 8 . . . . . . . . . . . . . . . . . . . . . . . . . .Download
Disc 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Disc 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Accessing the Drawings on Disc 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . Sign up to vote on this title
. . . Useful . . . . . . . . . . .Not . . .useful .... ........... Advise for First ime Guitar Makers . . . . . . . . . . . . .
Advise for Aspiring Luthiers
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Introduction When I built my first guitar I already had a fair amount of woodworking experince. Tis experience included a full apprenticeship as a cabinetmaker, successful completion of two years of schooling at the Fine Woodworking Program at College of the Redwoods with James Krenov, and years of designing and building studio furniture. Te furniture I made typically did not have flat surfaces, often required some carving, and had pretty complex jointery. I also had solid musical background having been a classical guitarist for over 30 years and real world design experince as an electrical engineer at A& Bell Labs for ten years. And my first guitar was still the most challenging project I had ever tackled.
In building that first guitar many years ago I remember gathering up as many books and resources find. I looked for anything that would have helped me to better understand what I was about to do, or with more options on how to do it. Understanding the difficulty in the project before me I searched ev for any new information that would have helped to improved my chances of success. At the time ther to be some pretty big gaps in the information available on classical guitar building in particular. Many when writing the book “ Classical Guitar Making: A Modern Approach to a Traditional Design” I conscious close some of these gaps. You're Reading a Preview
Writing about something that you do everyday has its challenges. Especially when you realize that Unlock full access with a free trial. majority of the things you are doing are done automatically without thinking about them in any verba the release of the book I was deluged with mail from people all over the world telling me of their guita Download With Free Trial experiences using my book as a guide. Many had questions and almost everyone asked when there wo DVD. I realized the book was a good start and that a DVD would be necessary to clear up what was to some. Even with the book my intent was not just to show how to make a guitar, but how to make a ful musical instrument. After all, spending all this time on your guitar building project you would hop with something that can you can play and make music on, not just something nice to look at. Hopeful will fill in the remaining blanks and help you make a successful musical instrument. Sign up to vote on this title
Useful Not useful Tis 10 DVD series demonstrates the construction of a concert classical guitar from start to finish. been omitted. Unlike the book, where it was not possible to include full size plans or acetates, plans an for the guitar as well as most of the jigs and fixtures used in the video have been included here in PDF
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making guitars today. I am sincerely thankful to everyone that has generously contributed by adding s to my toolbox. Te summation of all these things contribute to the success of my guitars today . In cr video series I hope to give back some of what I have collected and assimilated in developing my own p help people fulfill a dream of building their own guitar, or possibly to help aspiring luthiers start off on ney. Either way, my goal is to aid in making these first steps successful.
Background Behind the DVD
In the winter of 2006 the book Classical Guitar Making a M Approach to a raditional Design was released by Sterling Pu Te response to the book has been far beyond anyone’s expe so much so that the book has recently gone into second prin unprecedented for a book of its type. I still receive letters, ph and e-mail from readers from all over the globe. I have receiv less photos of guitars people have made using my book. I am whelmed by the response. When writing the book it was my was to try and demystify the guitar building process. So muc tion was available in one form or another, some of it useful, s Rarely was there a single source for enough information to co build a guitar for the first time builder. My goal when writin was to present the material honestly, and try to simplify wha a Preview eredYou're to be Reading some essential and sufficient concepts to get start areUnlock new to building the best way to get star ted is with fullguitar access with a free trial. concepts and some solid techniques to help you do the work.
Freemost Triallacking in solid information ha When I built my first guitar one aspect of Download the processWith I found with the neck angle and its function in producing an instrument that was playable. I too, was not hap results in this regard my first time out. I sought help in understanding the problem and how to avoid future. I found out from the builders I asked that this was the number one complaint heard from first ers, their guitars action turned out to be either too high or too low. So years later when writing the bo time th to explain this aspect of the process as clearly as I could so that everyone would have an easier Sign up to vote on this title this respect I think was only partially successful. Te truth of it is that all the information was there b Useful Not useful it was in the text and I can only surmise that not everyone read it all.
It goes without saying that it would be unreasonable of anyone to expect to produce a world class in
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Once it was determined that the project was doable with the resources available and all the technic were addressed it was time to concentrate on content. Filming a video version of the book was not to do. I felt for it to have real value it needed new content. Having heard from so many readers it was ing to me how many had fully equipped woodworking shops, some better equipped than my own. Com with the fact that most guitar making books on the market use fairly outdated hand tool techniques t most of the processes I thought why not show people how to use their equipment to get faster and m results.
Perpetually involved in a search for design improvements in my guitars, I am also constantly lookin ter ways to do any one, or all, of the processes involved in guitar making. Not to automate them, but t results more consistently in a way that is comfortable to me. A s I constantly reminded readers in the b technique is uncomfortable in any way, seek out another method that feels better to you. You will nev results from doing something in a way that makes you uncomfortable. With this in mind why not dem the techniques I currently employ to build guitars, some of which required the development of fixture be used with power tools and equipment. Between this and the book viewers would have some good c various processes. Now I not only had the opportunity to readdress some of the instruction points I h helpful suggestions on from readers, but I could improve on some other points I felt were not as succe they could have been, such as the aspect of the neck angle.
It logically followed that the guitar design should bring something new to the table, so why not use design. Spruce is used on this soundboard, and the new bracing pattern features an open lower transv with patches to improve sound and involve more of the top in sound production. Improvements were with fingerboard placement for more consistent playability, a new rosette design is introduced which motifs derived from the same wheat stick, a new detail scheme, and even a new finish. Tis video sho Reading a Preview how I build my current design. Te design ofYou're the solera is also new to accommodate the design change struction as well as that of the back workboard arefull clearly Unlock accessdemonstrated with a free trial. in the video. With all this new material it was obvious that Download With Free Trial drawings would be necessary. Rather than supply drawings additionally, I decided to include them on the DVD. Tis way the viewer did not have to purchase anything additional to get started and printing them out becomes an option. Te drawings and acetates for the guitar are full size Sign up to vote on this title and may be printed according to the instructions Useful Not useful in the read me file in the drawings folder on disc 10(see instructions for accessing these drawings
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filming of the special segments at the close. Tis guitar was sold shortly thereafter. Post-production w did myself due to budget constraints took almost another full year.
Early in the project I watched a number of videos on guitar making that were on the market at the is the first classical guitar making video of its kind. Terefore, all the videos I saw were on building ste guitars and arch-tops. Te first thing that struck me about all of them was that I felt they were too lon were more than 15 DVD’s in length. Te content was there but things moved along too slowly. Tis I to the fact that not much had been edited out. Some showed ever y saw stroke or every second of ever even if those same processes were repeated more than once. I felt this made some of them difficult to extended periods. In editing this video series I tried to capture only what was necessary to clearly con was going on at any point in the process. Any repetitive processes were shown only once to avoid redu to make the viewing flow better.
My intent was to present the instructional information in an interesting way and to capture a kind fact the workflow is very close to the actual workflow when the cameras aren’t rolling. Te video is ful guitar making instruction as well as some helpful tips on tools and materials along the way. I have bee with the both people that purchased my book and built guitars using it, and all the great people that h classes in my shop. Te purpose of creating this instructional video series is to help you all build guita play and enjoy, possibly even ignite a passion for guitar building. After all, it’s too big a project to com handed. Whether you are building a guitar for yourself, a loved one, a friend, or a client it will be a bet ence for all involved if the instrument is playable in the end. I sincerely hope this video ser ies will help successfully build a quality instrument. You're Reading a Preview Unlock full access with a free trial.
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DVD Content
Te main menu on each disc contains the main topics contained on that disc. In the case of disc below, the main topics are Introductions, Workboard, and Details. Te chapter button on your remote used to skip through each topic by sequence. A sequence represents a process or task which may cont part of a subheading. For example, by selecting the Workboard topic in the main menu you will begin with the beginning of Te Solera subheading. By then pushing the chapter button on your remote you the next task in the solera construction. You can cycle through the entire solera construction subhead and continue to the next topic.
Disc 1
Introductions General introduction Shop Tour Routers & Bits Measuring Tools Guitar Building Products Wood
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Guitar Building Advise
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Workboards
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The Solera The Back Workboard Finishing the Workboards
Details Introduction Making Bindings
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Both workboards are then given a finish to prevent warping or dimension changes from changes in hu
Before any guitar building can begin the details and the color scheme for the entire instrument mu mined. Since may details are added to the various parts of the guitar early on such as the back strip, a piece veneers, you must set your scheme right in the beginning. Here the color scheme for the instrum out along with all the necessary details right down to the color scheme and motifs used in the rosette bindings purflings are demonstrated here, the remainder is continued on Disc 2.
Disc 2
Details Cont’d Making the Back Strip Making the Wheat Stick Making Herringbone Making Wheat
Sides Introduction Sizing & Thicknessing Pre-bending Laminating Cutting to Length
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Cutting the Contour for the Back Edge
Linings Introduction Resawing & Thicknessing Laminating the Linings Shaping the Lining Profile
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Disc 3
The Neck & Heel Stack Introduction The Scarf Joint Book-matching Headpiece Veneers Installing Headpiece Veneers Preparing Veneers for the Nut Back of Headpiece Veneer The Heel Stack Cutting the Side Slots
Drill & Shape Headpiece Cut & Trim Headpiece Outline Drill Holes for Tuner Rollers Cut & Shape Tuner Slots Shape Crest
Shape & Carve the Heel Cut & Shape Inside Heel
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Carve & Roughly Shape Outer Heel
Download With Free Trial Disc 3 is entirely dedicated to making a neck. Te neck is crucial in creating a stable and playable in In the introduction the differences between mahogany and Spanish cedar are discussed as well as cha necessary in selecting good wood for your neck.
Te workflow in the construction of a neck is important in getting optimal results. Te progression the video is exactly the same as with every guitar built in the shop. Sign up to vote on this title
Useful Nota useful In the book cutting the side slots was demostrated wth a handsaw. In the video new technique is for cutting the side slots utilizing the table saw. Tis method requires the construction of a sled that r groves on the top of the saw. Cutting side slots in this manner is very easy and will result in consisten
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Disc 4
Jointing the Top Introduction Jointing Layout & Drill Registration Holes Cut Out Shape
The Rosette Introduction Prep top for Rosette Outer Rings Burl Veneer Center Ring Inner Rings Center Wheat Cut Sound hole
Wood selection for the soundboard is crucial to Reading producing an instr ument with concert quality sou You're a Preview general criteria is given for selecting a quality top. Both visual clues and measurable physical charact Unlock full access with a free trial. sound production are covered.
Once the top is selected the two halves are jointed. Te top joint must be spot on for a long lasting Download With Free Trial Proven methods for jointing the top are demonstrated. Once jointed, the top is laid out with all regi information which will greatly simplify putting everything together down the road. Te top is then c Some clean up and prep work is done to the top before the rosette is started.
Te guitar’s rosette is typically a luthier’s signature, something that says this is one of my guitars. tion of the DVD demonstrates how to make a natural center ring rosette. Everything necessary to r Sign up to vote on this title this rosettee is provided in this video series including a complete drawing of the rosettte with the siz Not useful Useful 10. components which appears on Sheet 1 of the guitar drawings included on disc Instructions for a drawings is given in the Accessing the Drawings on Disc 10 section of this document.
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Disc 5
The Soundboard Thicknessing Layout with Acetate The Bridge Patch Upper Transverse Patch Lower Transverse Brace Patches
Braces Cutting Brace Material Fan Braces Transverse Braces Fingerboard Patch Rosette Patch Scalloping & Voicing
With the rosette installed the top is then thicknessed from the back side. Te bracing pattern is laid under side of the top using the acetate which is included on disc 10 and installation of the braces and begin. You're Reading a Preview Selecting and cutting brace material, as well as material used for the different patches on the sound Unlock full access with a free trial. It is created using the template discussed and demonstrated. Te process starts with the bridge patch. kit and is surprisingly simple. Once the patch is installed the addition of fan braces can begin. Tere a Download With Free here Trialis my preferred method of shap methods of shaping and gluing on braces. Te method presented braces before gluing and using cam clamps as opposed to a go deck. Te inner 5 fan braces are notched the bridge patch using a clever method shown to me by Jeff Elliot. Tis method is repeated for the ov the lower transverse brace and the patches under it.
Te order in which the different pieces are added is critical in making the process of bracing a top e As pieces are added some create impediments for the installation Sign or scalloping other Te orde up to vote on this pieces. title here is a proven workflow used on every guitar in my shop. Useful Not useful
Te bracing pattern for this guitar has an opening on either end of the lower transverse brace allow brace to pass underneath. Tis area is fortified with a thin patch to avoid expansion problems with th
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Disc 6
The Back Introduction Book-matching the Halves Jointing Cut Out Shape Thicknessing Orienting Back to Workboard Back Patches & Braces Making a Center Patch Installing the Center Patch Shaping the Center Patch Applying a Finish Cutting & Shaping Braces Installing the Braces Scalloping & Voicing the Back Braces Finishing the Braces
Assembling the Neck & Sides Introduction Fitting the Foot Block Fitting the Sides to the Neck
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Applying a Finish to the Inside Parts Assembly
Te back is an often overlooked aspect of the guitar. If you think about it the top is excited by the p string setting the top in motion which moves the air and producesSign the up sound. proximity of the ba to voteTe on this title is important in this scenario. If the back is too far from the top the of its reflection abilit Useful Not useful effectiveness By moving the back closer to the top this reflectiveness can be increased which results in better projec ways too much of a good thing can be harmful and proximity of the back to the top is no exception. I h
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tent and proportional shape this way as shaping them after they are adhered to stationary. Once all the braces are glued are scalloped and a demonstration of voici given. Finally the braces are finished to red ture exchange, and to create a nice visual e
Te assembly of the guitar begins here w and sides. Te sides form a closed loop wit as an anchor point on one end, and the foo anchor on the other end. Te foot block is while the sides still fit firmly in the solera w rims on. Next the sides are cut and lining material is trimmed away to fit them into the slots in the he gluing the assembly all surfaces inside the guitar receive a finish of shellac. Tis finish not only looks g helps to reduce the moisture exchange with the environment ultimately producing a more stable instr foot block is glued to the sides first, followed by the neck.
Disc 7
Installing the Top Reading a Preview Laying out the Sides to Accept You're the Top
Cutting the Slot for the Butt Strip Unlock full access with a free trial. Shaping the Sides to Accept the Top Fitting & Installing the Top
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Installing the Back Shaping Sides to Accept the Back Applying Finish to Inside of Top Fitting & Installing the Back
Purflings
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sibly even draw this out yourself. It may help you to better understand what it is you are doing and wh representing the original flat surface of both the top rims and the solera is highlighted in red on both and solera drawings, and are identical on b
Te top is then fitted to the rims. Some es are cut back and some are notched into for assembly. In the end the top should be in place with nothing more than a couple applied clamps. With everything fitting pr time to glue it on.
Gluing on the back will lock in the neck before gluing it on be sure that everything the solera as it should, especially the neck done a very similar fashion as the top. Te ence here is that when you are gluing on the back you cannot see what you are doing. It has to be done Neatness is important here. ry not to create a mess inside the instrument. When you turn it over an inside the next day, you should not see any glue residue along the perimeter.
With the box now together we turn our attention to the bindings and purflings. First any overhang and back is trimmed away and the binding and purfling channels are cut. In the video I use a binding c machine to cut the binding channels. Tis machine is a two part system with plans available at some l ply companies. It is an easy project and well worth the effort. Te purfling channels are cut using the s attachment I used in the book. I have updated the plans for this device and a set of full size drawings included on disc 10. You're Reading a Preview
On a guitar built in the traditional Spanish method as this one bindings and purflings will require s Unlock full access with a free trial. work to complete. Te machine will remove the majority of the material but anything close to the nec and back will have to be chiseled by hand. Te removal Download With Free Trial of this material as well as a small amount of rosewood on the back is clearly demonstrated before fitting the purflings. Te purflings are fitted and carefully mitered which creates a truly rich look in the final product. Te miters are preformed with unbelievable accuracy. It is very simply done by hand with a chisel. Sign up to vote on this title Gluing the purflings in place requires some preparatory work to avoid tearing fibers in the top. Te purflings are glued in place and after the glue dries
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Disc 8
Bindings & Butt Strip Introduction Preparing Top Binding Channels Fitting & Installing Top Bindings Preparing Back Binding Channels Fitting & Installing Back Bindings Cleaning Up the Bindings Fitting & Installing Butt Strip
The Fingerboard Introduction Milling the Wood Cutting the Fret Slots Trimming & Shaping the Fingerboard Prepping the Top for Installation Checking the Set Up Registering the Fingerboard Installing the Fingerboard Fretting Trimming the Neck Prep Surface of Fingerboard
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Installing Frets Dressing the Frets Filling the Gaps 7th Fret Indicator
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Chisel work is necessary on both the top and back sides to prepare the binding channels before fitti
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rial today. Once selected, the wood is milled, squared and ready for cutting fret slots. Te fret slots for this design have some compensation built in to get a little better approximation for intonation across the fingerboard. Te position of these frets are given on sheet 2 of the guitar drawing included on disc 10. A fret slotting system is used to cut the fret slots here. Tis fret slotting system is highly recommended for accuracy and is available at some luthier supply companies. It is possible to have a template made using the numbers provided in the drawing in order to cut these slots.
Once the frets slots are cut, the set up is checked in order to see that we are on target with all our Measurements are taken to check the 12th fret string height before the fingerboard is glued on so tha ments can be made if necessary. If you fin are a little off at this point adjustments ca to the thickness of the fingerboard to com but these adjustments should be kept ver adjustments of any more 4% are needed i possible that something is not quite right stream and should be investigated and cor before moving on.
If everything checks out the fingerboar You're Reading the a Preview rest of the way, registration holes are d
upper Unlock full access with a freebout trial. is prepared almost to final san
fingerboard is fitted, and then glued on. If everything leading up to this point has been done properly board should lay flat without the need to relieve any material underneath, at the correct angle and pro Download With Free Trial proper action at the 12th fret. After the glue dries the excess neck wood is trimmed and the fretting process begins. As the frets are installed their heights are checked with respect to one another using the dowels from the fret leveling kit. Since the fingerboard is flat any high fret at this stage is typically due to it not being properly seated. High frets are hammered down as they are installed which greatly reduces removal of fret material in the
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Disc 9
Final Shaping the Neck The Heel Cap Shaping the Neck Final Shaping the Heel Final Shaping the Neck at the Headpiece
The Bridge Introduction Milling and Sizing Bridge Blank Cutting the Saddle Slot Cutting the Tie Block Channels Drilling the String Holes Cutting the String Trench Installing Tie Block Inlays Final Shaping Doming the Underside
Finishing Finishing
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Introduction
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Filling the Pores Undercoating with Shellac Applying Conversion Varnish Rubbing Out the Finish
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string holes are drilled then the string tren the shaper. Te final shaping of both the t tom surfaces are done with hand tools un sits perfectly on the domed top. Lastly, a m is applied and then set aside to harden.
Te finishing process for this guitar is d that of the book. In the book I used a com lacquer for the back and sides and French the top. Since then I have switched to a co varnish finish. I find this finish to be supe way for a musical instrument. First of all i more durable than shellac yet amazingly flexible. Tese are excellent characteristics for a guitar finish. portant aspect is conversion varnish has a high solids content which greatly reduces the number of co to create a mirror like finish. Tis also makes it much easier to get the right amount of finish on the in for optimal sound production and quality. And lastly it cures very fast. Te entire instrument can be the day after spraying.
Te finishing process as always begins with sur face preparation. All surfaces are sanded, any final sh done, and in the case of this guitar the bindings are protected from collecting residue from the rosewo application of cyanoacrylate glue. Tis serves not only to fill the pores but to stiffen the wood a bit . T wood used here is African satinwood which can be a bit spongy until hardened with this glue making work with. All porous surfaces are then filled. wo different You're Reading a Preview methods of filing are used here. A paste filler with a Unlock full access with a free trial. brown tint is used for filing the Spanish cedar neck. Tis was done to not only fill the pores but to warm Download With Free Trial and richen the color of the wood a bit. Te rosewood is filled using epoxy. Te result is a flat sur face that will make it easier to get the desired finish. And as always before spraying on the conversion varnish a few coats of amber shellac are applied. Virtually anything can be sprayed over shellac. It is desirable as an underSign up to vote on this title coating because it is an excellent moisture barrier. Te Useful Not useful amber tinted shellac will also warm up the color of the wood just a bit.
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Disc 10
Installing the Bridge Introduction Fitting the Nut & Saddle Positioning the Bridge Gluing on the Bridge Clean Up
Set Up Installing Tuning Machines Final Fitting & Shaping the Nut & Saddle String Up Intonate Wrap Demonstration & Evaluation of Guitar Evaluation & interview with Stanley Yates Recording Session with Mr. Yates You're Reading a Preview Unlock full access with a free trial.
Without a doubt scraping off the finish to glue on the bridge can be the scariest part of this entire p After all the work you have done up to this point, and here you are about to take a chisel to the pristin Free Trial done and clearly explained wi have just painstakingly applied and polished.Download HopefullyWith seeing it calmly need to give you confidence to try it yours
After fitting the nut and saddle into the slots the bridge locator stick (drawing on used to precisely position the bridge. Prec Sign up to vote on this title ing is critical for the instrument to not on Notisuseful tune, butUseful a bridge that even slightly off can greatly reduce playability. Observe thi critical part of the process done in a very s
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by the shop before the session for an inter discuss guitars. I got to ask him some que some of the things that draw players to a guitar. Te interview is very informative, demonstrates aspects of the guitar’s soun ability such as separation, balance, sustain on the guitar as he speaks. If you are uncl of these points, this portion of the video m helpful in shedding some light on these ab fundamental aspects of a guitar’s perform Yates also allowed us to film part of his re session and generously granted us permission to use it at the end of this DVD. Witness first hand the instrument. Beginning with the selection and cutting of some wood, shaping it into a quality guitar, t ing to beautiful music being played on it as the project comes full circle.
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Accessing the Drawings on Disc 10
Te drawings are located in a folder on disc 10 labelled Drawings. o access these you must put the computer. If you are using a PC click the My Computer icon and look for the icon for the DVD called 10 which should be among the drives listed there. Click on the CGM Disc 10 icon and you will see the ture of the disc. Locate the folder labelled Drawings and drag it to your desktop.
If you are on a mac insert the disc into your disc drive. Open finder and click on CGM Disc 10 at th of the drive listing in upper left corner of the window. A new window will open displaying the file stru disc. Locate the drawings folder and drag it to the desktop.
Inside the drawings folder are PDF files of all the drawings and a read me file with printing instruct printing instructions include where you can get the full size guitar drawings and acetates printed as w full size paper sizes for all the drawings. Most of the drawings may be printed on a desktop ink jet prin may need to be size reduced to fit on a page. Te drawings folder may be stored anywhere on you com
Advise for First Time Guitar Makers
Te tendency for everyone that has ever attempted to build a guitar is to hurry up and get done so hear what it sounds like. Tis usually results in something that is not quite right. Out of necessity you fully learn to control this temptation. If you are new to this, you will need to go slowly and carefully lo design. Notice how each particular aspect of the design is related to its pur pose. Visualize the design i You're Reading a Previewthe different parts. Also pay atte dimensions in you minds eye and understand how you will approach order in which they will be done. Tis shouldUnlock be done before you put a tool to wood. Before you begin full access with a free trial. you should know exactly what you intend to do. Always visualize what you are about to do before y just save you some wood now and again. Download With Free Trial
Tere are many ways to do almost all the processes described in the video. If you are uncomfortable one of them by all means use another method you feel more comfortable with. I have also assumed th ers have a pretty solid woodworking background. If any of the techniques presented in the video are n need to learn and practice the technique before using it on the guitar. I can tell you first hand that bui guitar is not easy regardless of your woodworking background. TeSign desire alone is not enoughto get t up to vote on this title you will need some solid woodworking skills. You will not be happy with your results until you develo Useful Not useful You can do this by practicing on some scrap wood first. Tis always worked for me. Wood used in guit tion is expensive. Terefore, it is not economical to learn with this wood. Plain old 2x4 wood will suffi
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ally will not work as well on soft wood. So if scrapers are new to you do some research on how to prop sharpen one.
In the beginning performing the woodworking techniques will require most of your attention. It m to remember at times that creating good sound is the real focus. Te more familiar you become with t the more they will fade into the background allowing you to focus more on the ultimate goal. Tat is w ing some of these techniques is so important.
Have realistic expectations. Your first attempt is after all your first attempt. You can always try agai extra expense at that point will be the wood and par ts needed to build another guitar. Everything else already be in place.
Also, if you are lacking in some equipment to perform some of the milling tasks for instance, check local cabinet shop. As long as you don’t go in there at a busy time demanding they drop everything an most will be more than happy to lend you a hand or perform some milling work at a small fee. Tese s have some pretty nice equipment that will give you great results. Local woodworking organizations ar place for information and possibly getting someone to lend a tool or a hand with our project.
Te templates, molds and tools that I have developed, and use throughout this video are available o site and at some of the luthier supply companies. I highly recommend these guitar building products extremely helpful for builders at any level because they are more accurate than anything you can mak rust me, after getting these made I threw my old ones away, they just could not stand up to the accu symmetry of these. Tey are also a tremendous time saver. Regardless of skill level, making the templ molds accurately is difficult and may take weeks. Tese products will allow you to concentrate on mak tar which will be difficult enough. I use these products in my shop every day of the week and they hav Reading a Preview the my workflow as well as the quality of myYou're guitars. I have also included discounted sets on the webs will save you money and they include all theUnlock templates, molds, tools to get you started. Check ou full access with aand free trial. www.jsbguitars.com/guitar-making-products-news/ for up-to-date information on products and pricin Download With Free Trial
Advise for Aspiring Luthiers
Shortly after the release of the book I was surprised not only by the how many of the readers that me had already made a few guitars, but how many of them were seriously looking to begin careers as l Sign up to vote on this title Teir questions covered a wide range of topics, many of which had nothing to do with the physical pro Useful Not useful guitar building guitars but more about the practicality or business side of making. In this section I wil some of the more frequently touch upon topics covered in these requests. Te intention here is not dissuade anyone from pursuing their dreams, but to provide honest and practical advise as to what yo
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must be able to stand in there and compete with them. Here is where being a guitarist can greatly spe first part of this process.
If you can play the instrument it can save you endless time accumulating data on guitars from othe in order to improve your instruments. Second hand information will always have some level of discon you both are using words to describe things and each of you will have different images for the same ad guitar player that is also a guitar builder can assess his own instrument for both sound and playability a great asset in determining what needs improvement and what does not. If you play, the higher your playing the higher the level of clientele you can relate to personally without the need for an interprete
Tere is a big difference between someone that plays a bit here and there to someone that is playin repertoire. Someone able to play a repertoire with a high level of difficulty will have first hand informa limits of the guitar and the human body. Tis information is vital in determining things like size limit cal places on the instrument and other details that are used to establish the criteri a for one of the sec important aspect of the instrument - its playability, especially if you goal is to build instruments for w musicians. Te last thing you want to do is create instruments that are difficult to play and can possib aggravate player injuries. If someone that is not an advanced level player comes to you with a specific will need to know whether that request is reasonable or not, and possibly not in the players best inter thing you want is an unhappy customer even if that customers request was out of line to start with. T cal guitar repertoire is one of the most physically demanding of all the instruments requiring players t great stretches and hand manipulations while exerting enough force to fret all the notes properly. Han the classical guitar world are common some are the fault of players not resting properly and pushing i some are from poorly designed guitars. You don’t want to be part of the latter. You're Reading a Preview
Business Necessities
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Download With Free Trial If you are serious about establishing yourself as a professional guitar maker the first thing you mus this is no longer a hobby, it is a business. Tose luthiers that view their guitar building endeavors as a live with the notion that they will never be able to make a decent living at lutherie probably won’t. It i filling prophecy. No one said it was going to be easy, I can tell you first hand it is going to require lot of and in today’s economic environment it has to be more than a business, it has to be a lifestyle. You ma genera trim your lifestyle a bit so it will be more in line with the amount of income you will be able to Sign up to vote on this title few years of your new business. Te lower your overhead the better are your chances of success. It wil Not useful Useful you to establish a steady, reliable income large enough feed you and your family so need to be able to that point.
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is information everywhere on how to learn to use a computer or how to use any particular piece of so are reams of book, websites, online tutorials, DVD’s and classes to help you become computer literate ing ed programs have great computer courses typically. Te courses are inexpensive and usually a few tion. You can learn how to use almost any type of software like this. If you are the only employee in yo using a computer will save you countless time and make the unmanageable manageable.
You certainly will not be able to live extravagantly being a solitary guitar builder, but don’t worry th ally won’t be time. Terefore you better really love what you are about to do because you will be at it q have heard from countless people that were thinking of leaving their jobs to peruse lutherie or some r asking me for advise. Honestly, the best advise I could give them is to have a plan ( Plan A, B & C) and for anything that may come your way because it usually does. I know this is oversimplified, but there many things to cover in one simple answer, and at its most basic level this is the most honest answer.
Being a guitar maker requires more skill that just building good guitars. Terefore, the more hats yo and wear well, the better you chances at success. Without the funding to subcontract out any of the n making work, you will have to do it all yourself. For those that don’t need to rely on the income derive guitar building to survive, great, but for the rest of us there are bills at the end of the month that need and mouths to feed, so you will have to do it all yourself leaving you very little time for much else. So very selective with how, where and with who you spend your time. With all there is to do, you will no time to waste on things, events, or people that do not work to help you achieve your goals. You will ne the skill to detect and assess when something, or someone, is simply not the best use of your time.
Assessing a Guitars Sound
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Unlock full whether access withita free trial. or one that someone else ha Te ability to honestly assessment an instrument be yours, must. As I said, in the beginning you will be getting your ideas from other builders to use in your own Download Freeguitars Trial you first have to be able to order to know what characteristics you would like to addWith to your characteristics in other guitars. Being able to judge a guitar’s sound is not such an easy thing. After all subjective, beautiful sound even more so. People often use different words to describe the same sound istics which further complicates things. Tese inherent difficulties with perception combined with an ear lacking the confidence to decide honestly what appeals to it are problems often exploited by unscr dealers and builders alike. Whether you are a client or a builder, your best defense is an education. Edu Sign up to vote on this title self by listening. Listen to as many guitars as you possibly can, as often as possible. Realize that what a Useful Not useful looks like, how many cool do-dads it has on it, its price tag, or the interesting story that goes with i should have nothing to do with what it sounds like to you. One of the sweetest sounding guitars ever through my shop didn’t have a rosette or bindings and it sounded great. How many self proclaimed gu
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builder I wanted to be and who I wanted to build for. I prefer to make guitars for people that record in and perform in small to medium sized rooms. First there are many of these kinds of players and they looking for guitars that have wonderful overtones, a full tonal palette, subtly, and richness, along with projection to be heard in small to medium sized concert venues. But most of all they want guitars tha want to play. My intention is always to create the type of guitar whose sound and price a working mus not resist. I guess you could say I wanted to make guitars for guitar players, not collectors.
Pricing Your Guitars
Honestly evaluating and pricing your guitars is critical not only to the success of your business but ity of your life. Tere are many guitar makers building quality guitars these days, probably more than there are also a lot of highly overpriced instruments that look very nice but are only mediocre in soun is your duty to yourself as a builder to know the difference. A very high pr ice tag on an instrument tha does not warrant one may ser ve to massage your ego occasionally but will not create the steady incom reliably sustain you and your family. Short periods of great prosperity followed by long financial droug bring the kind of financial stability needed to work in a relaxed atmosphere conducive to creating goo Tis will also not go over very well at your local bank when asking for a loan to either buy a house or e business. I will always be willing to trade some fleeting ego gratification for a solid cash flow any day o Besides your customers will appreciate your honesty. Hanging a ridiculously high price tag on your ins may convey to the some that you must be building a truly great guitar but real working musicians will are not. Hence you will be walking a fine line between job insecurity and ego fulfillment. So be careful ing your work and most of all be honest. It takes a lot of energ y to keep something going that is not tr You're Reading a Preview Unlock full access with a free trial.
Guitar Players and Your Guitars Download With Free Trial
Tere are also almost as many different guitar playing techniques, attacks, and fingernail types for t tion as there are players. Remember, it is a fact that no guitar will sound good in every ones hands. T and the players are very different. Just because someone famous plays such and such a guitar does no someone else will sound good on the same instrument. Some guitars lend themselves to certain playi niques and some don’t. Tat is just the way it is. It is your job as a builder tovote understand Sign up to on this titlethese things they relate to the guitars you are building. You need to know what kind of players the guitars you mak Useful useful Not suited for.
In the classical guitar world there are very few players that perform in large halls where massively lo
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string guitars. Te nylon string guitar has gained popular use in jazz as well as acoustic folk music and amplification. If the guitar truly has a great sound it will cross all genre boundaries.
Getting Noticed
In the beginning some public exposure will be necessary. After all how will anyone out there know y building guitars unless you get out there and show them. Guitar shows and events will help you becom nized as an up and coming guitar maker. But initial recognition is all you should reasonably expect fro of event for the first few years. It is also a great way to get out of the shop, look around and see what e else is doing.
Once you have achieved some recognition and gathered some information the usefulness of attend shows as a viable marketing tool has pretty much come to an end. Remember this is now a business s think about things a bit differently. Although it may be great to see old friends at the guitar show, onc gained some recognition there are some solid reasons why it might not be the best use of your t ime a es. First, it costs money to attend, not to mention lodging, meals and transportation. Second, its time (events usually go on for up to a week), and if you are at the show, no one is building guitars back at th may be acceptable if you do not have a backlog of business, but not a very good business decision if yo if you are lucky enough to sell an instrument at one of these shows be sure to deduct all the costs incu attending from your bottom line, and don’t forget to add the time lost in the shop during the show, in tion, and the inertia you must overcome after returning. All of the sudden it doesn’t look like such a g unless of course , you have nothing else to do. And even more importantly for me, being a musician m You're Readingin a Preview would never look to purchase a quality musical instrument such a noisy, chaotic, gossip filled enviro a guitar show. Great efforts have been madeUnlock in thefull last few years to create better listening environmen access with a free trial. shows but I think it would be wise to make a major purchase decision like a high quality classical guita ronment with far less distractions. Download With Free Trial Te temptation for many builders is to find a shortcut to the top. Tey want to be perceived as a top right away. Te most commonly used method is to tr y and get a big name player to play one of your in So builders will follow players backstage after shows, out to the parking lot, or even to a restaurant. Ch players like this is time consuming, demeaning, and not appreciated by most players, trust me on this these guys are friends of mine. Tis is not good use of your scarce available time. Tere is a proper pla Sign up to vote on this title for this type of thing. Showing up unannounced and unsolicited is not the way to go. And, top player Useful Not useful proached by countless builders all the time. Tey know the game. Some are also very fickle when it com tars. Tey will rarely stick with one guitar for very long. Before you know it they are playing another g builders have even gone so far as to give players guitars in hopes that they will be seen playing one on
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Understanding Wood Finishing
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Classic 2 Plan
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If a dealer really believes in your instruments he will buy them outri ght from you. Realize that leav on consignment may seem like a good way to get your foot in the door somewhere but the dealer then incentive or at least not as much incentive to push your instrument over one he has already paid for. A not all dealers are good or reputable. Some dealers would not know a good sounding guitar if one fell o sky and hit them in the head. Do your research. Just because you have heard the name does not mean is good, or one that you want to be associated with. Also if you are based in the US avoid dealers repre number of makers that are based overseas. You will not be able to compete with the profit margin the theses instruments.
A good dealer is one that knows guitars first hand and genuinely feels good about selling your guita before no one guitar is going to suit all players, it is the same way with dealers. Some may like your gu may not, and as I said, some would not know if they had a good guitar in their hands, so don’t take it them it is just business. You don’t need a long list of dealers you just need one or two good ones. It to research any dealer you are considering for representation. Be sure to look and see what instrumen If you have never heard of some of the guitars they carr y stop by and play them yourself. Remember t representing you. You need to appraise the dealer also. If much of what the dealer sells are highly over diocre sounding instruments ,once your guitars are in that shop, that is how your instruments will be by players that know the difference.
If you are selective, dealers can be a big help but under no circumstance should you leave all your sa er or dealers. Tis is a recipe for disaster. Dealers go out of business, they can get ill, they can close sho to ahiti. Any number of things can happen that can jeopardize your sales. And if all your sales are in you will be in trouble. o be safe, sales through dealers should not be any more than 30% of your tota You're Reading a Preview
If you are thinking about guitar building as a livelihood aretrial. things you must give a lot of cons Unlock full access these with a free to all these things. Te best path to success without a doubt is to have a really good product. Without will have an uphill battle all the way. Competition is fierce. InFree order to compete in the current environ Download With Trial instruments must not only sound great but also look the part. Knowing your target audience, the lim not only the instrument, but the people playing them is crucial to your success. Te best sales tool is of musicians playing your instruments. Your guitars should speak for themselves. Wise customers wil hard-sell builder that feels the need to talk up his instruments or speak negatively about others. Let y sell themselves. Te typical classical guitar client is very intelligent and will appreciate not being houn up to vote on this builder to buy their instruments. Tis goes for well known players Sign as well - trust me ontitle this. Te most Useful get Not useful true method for success in this type of business is to let your g uitar the business for you one custo time. If you make a good sounding instrument and treat people right word will get out . A little luck of too!
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