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n85ae -> RE: "Luthiers share your creations" thread (May 13 2015 13:54:40)
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Thanks, the French Polishing was a bit of a learning experience, but in the end
not so difficult. I brushed on several base coats of shellac, sanded it back, then
ended up hand rubbing a bunch more layers. Then I finished it by wet sanding it
with 600 grit, then 1500 grit 3m wet/dry paper, and rubbing with Swirl X 2.0. I
have a MicroMesh set, BUT I don't like it very much. The plain old wet dry paper
feels better to me. I used Walnut Oil from the art supply as a lubricant for the
shellac application. I like it, and the shellac cured to a pretty tough finish. It
seems harder than when I experimented with Olive Oil ...
It sounded absolutely horrible for the first couple days, and very muddy and
boomy. Dad didn't say anything, but I could tell he was not pleased. Then as
if by a miracle, the top made a magical transformation, and went from dull and
thuddy, to crisp and bell like. It sounds really nice now.
It's a Spruce top with Port Orford Cedar back and sides, the string height is
3mm at the 12th fret on the bass side, and the height above the top between
the bridge and soundhole is right at 9 mm. The set up is very precise. Dad's
friend who worked with him is a retired aerospace machinist, so more than a
few parts were made on a Bridgeport Mill, which might be blasphemy, but it
works. The top is about 1.9 - 2 mm thickness, and while tap tones, finger feel,
and witchcraft were used for guesstimating the right thickness. Lack of
experience left it to random luck.
I have three other guitars, two Pedro De Miguel's, and a Vicente Carrilo, and
while I may be a bit biased I feel I like this guitar the best. It is VERY light
weight and feels good to play.
Most likely the reason it sounds good, is because it was built very precisely
to the plan, and while that doesn't replace experience it took it a long ways
towards a good sound.
If I come up with a decent sound sample I will post it.
Jeff
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