Welcome to one of the most active flamenco sites on the Internet. Guests can read most posts but if you want to participate click here to register.
This site is dedicated to the memory of Paco de Lucía, Ron Mitchell, Guy Williams, Linda Elvira, Philip John Lee, Craig Eros, Ben Woods, David Serva and Tom Blackshear who went ahead of us.
We receive 12,200 visitors a month from 200 countries and 1.7 million page impressions a year. To advertise on this site please contact us.
Is was actually thinking of doing exactly the same thing for the soundhole reinforcement. my top is slightly under F# now, im just going to leave it as it is and see how it turns out.
my top is slightly under F# now, im just going to leave it as it is and see how it turns out.
Yeah, well as you probably know that will change completely once you get the guitar assembled and the bridge glued on... When you tap on a free top the edges are free to move so you hear mostly cross-dipole/tripole action, instead of that "main top resonance" (monopole) that you're looking for when the guitar is assembled. But by all means go ahead an build the thing
yeah I know it will change.. athough I'm not sure how exactly it changes, can't remember form previous build guitars... I need to pay more attention haha
Hey Gimar, great looking build so far, how is it going on? It's nice that you post everything here - much more interesting than my study (and I like it a lot!) But I think that's the case if you permanently have guitars on your mind...
Could you tell me where you bought your wood? I recently started to build my first guitar and I'm always looking for some supplies. I'm also frequently in the Netherlands so it would be very helpful to have another source ;-)
The darker colour usually comes from fuming boxwood with acid, there is also something called boxwood liquid peg stain. I have not tried either method so I can't comment more but if you are truly unsatisfied with their appearance you may want to look into it. Nice work so far
It's going slow at the moment, I have a little job on the side at the moment wich takes most of my time. Once that is finished ill start bending the sides and getting things ready for assembly.
I buy my woods from a few supliers, in this case I bought the top, back+sides and the nexk blank from a dutch guitarbuilder, who has a little wood supply he sells as a hobby, he has a nice supply of airdryd quality guitar tops and some neck, fretboard and back and sides. I took his last nice set of cypress though.
check him out at www.lionguitars.nl he is stationed in Hengelo, wich is pretty close to the german border. He's a very helpfull man, knows alot about wood and also about his wood, he can often tell you where and when he bought certain peices of wood. Just make sure to contact him before hand, his supplies change often, and he's a busy man.
@ Sean, I might replace them with ebony pegs in the long run, these pegs were so cheap I gave them a go, in case I would mess them up.
and my insanely advanced bending setup. I also have a piece of pipe with a bigger diameter, for the bigger curves.
I would love to have a bigger oval pipe for the realy big curves to get them as smooth as possible, I get realy close already but I always have to clamp in into the mold a bit. (I've bend 5 sets in total, so I'm not very experienced with bending).
Do any of you guys use the bending setup that stewmac and other supliers sell? I'm curious to find out how that works.
Images are resized automatically to a maximum width of 800px
I would love to have a bigger oval pipe for the realy big curves to get them as smooth as possible, I get realy close already but I always have to clamp in into the mold a bit.
I used an 8" diameter piece of aluminum pipe which was shaped by hammering it over a rounded piece of wood until it formed a nice oval with the small end matching the tight curve of the waste. I made it over 40 years ago and still use it for every guitar. It took the better part of a day to make it and cost virtually nothing since the pipe was scrap.
2 ways of heating the pipe - blow torch or steam. It's easy to buy either. Steam cleaners come with all the attachment you need, but it's my guess the luthier's prefer the blow torch as it doesn't mess up the humidity. Gimar's picture shows the set-up really nicely.
I'm thinking of a similar set-up but with a square pipe for heating the glue and removing the fret board. Blow torches heat the metal nice and quick but if you have never used one before, don't get a shock if it throws out long flames when you move it at first. The gas is cold and the pressure will fluctuate if you move it when it is first lit.
_____________________________
Rhythm, grace & passion. El ritmo, gracia & la pasión Be the change you want to see in this world - Gandhi
Thanks Jeff. I've seen people use steam for taking off fret-boards and assumed you could use the same on the sides for bending. One guy had used a long length of flat tubing sealed at one end and put steam into it. Many are using household irons with the steam. Having said that, I feel steam is dangerous as you don't expect to burn yourself with it, but you get a nasty burn - I can say that from experience. At least with gas flames you expect to burn if you touch it. Blow torches also make a racket so you know it's on and hopefully remember to turn it off, although we live on a very nice coastline, with plenty of bed & breakfast places to stay. One such place was burnt down recently when the builders were doing refurbishment. They didn't have insurance either.
anyway, thanks for the heads up on that.
_____________________________
Rhythm, grace & passion. El ritmo, gracia & la pasión Be the change you want to see in this world - Gandhi
it has ben WAAAY to long since i did something on my flamenco guitar, so here is the latest update.
i have assembled the body, messed up the neckangle a bit, bit I will compensate for this by tapering the fretboard.
Im now getting ready for the binding work, madagascar rosewood outer binding with a maple and mahogany purfling. I loved the colour combination of cedar, cypress and spruce together so much that I deceided to use the mahogany/maple purfling together to keep the same colours throughout the guitars detail work.
Images are resized automatically to a maximum width of 800px
Printable Version
New Messages
No New Messages
Hot Topic w/ New Messages
Hot Topic w/o New Messages
Locked w/ New Messages
Locked w/o New Messages
Post New Thread