CLASSICAL GUITARS FOR SALE

Tuesday, December 16, 2014

On Being Vise-less, Paring Chisels and Carving Guitar Necks

Straight end chisels must be "squared up" on the grinder and shaped to the correct bevel.

Lester Griswold, Handicraft, 1951




I've noticed lately that there are several wood workers in the world of Internet wood work blogging that are bragging about being "vise-less".

Good for you!

I've used hold fasts almost exclusively on my bench for that last twenty years or so, hold fasts are cheap compared to a metal vise and I never got along well with leg vises. I don't make boxes or cut dovetails anymore, I make classical guitars which need much different clamping devices than say, oh, a Federal highboy.

Don't get me wrong, I do need to use a vise for some tasks.



One thing I enjoy about using holdfasts is how quickly you can hold a piece of wood and you don't have to use a pretty piece of wood as a clamping caul.




Hold fasts are efficient for most tasks, they are great for holding guitar necks!



Smoothing the slots in the head stock

I do own and use a Shop Fox brand vise that I bought from Grizzly some ten-eleven years because it was cheap and I needed a better way of holding certain objects.



One inch wide chisel on the left with a 30 degree bevel, 7/8 inch chisel on right with 20 degree bevel

While carving the heel of a guitar neck the other day, I notice how the steep bevel of my one inch chisel kept bumping the chisel out of the cut. I was using the chisel with its belly down.

Hmm.

Most of my chisels are ground to a 30 degree bevel, this is left over from the days when I did chop dovetails and mortises, so I thought I would take one chisel and experiment with a 20 degree bevel.

I took my 7/8 inch Stanley No.720 chisel to the grinder and then locked it in my old Eclipse 36 Made in England honing guide.




A close copy of a Santos Hernandez guitar heel

The 20 degree bevel worked like a charm, now I want to experiment with a 15 degree bevel, but, again, the amount of time I have in the shop grows short.

I have two orders for custom classical guitars, a router table is waiting to be built so I can make muntin, rail and stile stock for eight sashes for the new porch enclosure which that also needs to be finish before winter really sets in.

Did I mention that our water heater developed a good leak the other day?

It's going to be a busy winter!


Another YouTube of Isabella Selder, enjoy!

Monday, November 24, 2014

Stanley No. 45 Combination Plane, Type 7B, 1901-1906

The craftsman in wood may ask himself "Why should I possess a Multi-Plane?"

Hampton and Clifford, Planecraft, 1934




I splurged the other day and ordered a No.45 plane from one of my favorite antique tool dealers, Sydnas Sloot.



I've always wanted a No.45, but I never could find one at an affordable price and then the other day there was this beauty on Sandy Moss's website. I couldn't resist. Thanks, Sandy!



It doesn't have all the bells and whistles that come with some of the 45's, I figure I can buy extra blades and soles as I find them.




The box no longer has its sliding lid, I can live with that, perhaps one of these days I may make one and repair the box.

I love this box for the decal, the box is cool enough to use to hold just high dollar guitar tuning machines...




It has all the parts I need, in the next few weeks I will use this plane to cut drawer grooves. I could use it for sash work, but I'd have to find or make a blade for an ogee, I'm not too partial to ovolos on the muntins, rails and stiles of a sash.




The instruction sheets.

For more information on how to use these beasts click here for the Cornish Workshop and here for a pdf copy of a Stanley No.45 instruction booklet.

I will definitely read through Alf's (Cornish Workshop) tutorial on how to tune and use a No.45.


The UPS driver just arrived with Spanish cedar neck blanks for two of the guitars that I will be making this winter.

It's snowing outside at the moment, guess I had better get back to work...


Here is a YouTube of Isabella Selder...enjoy!


Monday, November 17, 2014

Disston Rip Saw, Stanley Scrub Plane, Douglas Fir Guitar Top

Towering up to heights as great as 220 feet, with sometimes 100 feet of trunk clean of branches, arrow straight, and with almost no taper below the crown discernible to the naked eye, an ancient Douglastree may be 17 feet in diameter.

Donald Culross Peattie, A Natural History of Western Trees, 1953



Douglas fir isn't often used as tonewood for classical guitars, many makers think that it is too heavy of a wood to be used for guitar tops. The strength of Douglas fir is phenomenally strong, its specific gravity is 0.50 and its modulus of elasticity is 1.95! Compare that to Sitka spruce's specific gravity of 0.42 and its modulus of elasticity at 1.57.

I think it is great wood, and, yes, I am biased because I was weaned on a chunk of Douglas fir, it was a playmate along with ponderosa and sugar pines, incense cedar and black oak.

The point of all this is there is a young classical guitarist who wants me to make him a guitar with a Douglas fir top.



This is the last piece of old growth Douglas fir that I possess, it was salvaged from old bleachers and I acquired it from a trim carpenter who was making doors out of this stuff.

Just think of all the butts that sat on this wood...




Ripping it down with my trusty No. 7 Disston rip saw...




To the saw horse for the last few inches...




One problem with ripping out tops from a piece of wood that is under an inch in thickness is you don't always get to rip out two sets of tops. I suppose if I owned a real he-man Norm-ite 10 ton style re-saw bandsaw this wouldn't be an issue, but I enjoy the gentle noise of a hand saw.

To make sure that I end up with two pieces that are 5/32" to 3/16" of an inch thick, I reached for the No. 40 Stanley scrub plane.

Running this plane over and through the wood I can get a sense of the sound, the voice, this guitar top will have. I just listen to the blade cut the wood and I hear music...





The top after is has been smoothed with a No. 3 Stanley plane.

I have drawn the plantilla, or outline, that is based on one created by Manuel Hernandez and Victoriano Aguado, in 1961.




The grain on this piece of wood varies from 15 rings per inch to 32 rings per inch.

Very beautiful wood.

I can't wait to start working on this guitar...



Here is a YouTube of Karmen Stendler playing one of my favorite pieces by Joaquin Rodrigo.

How to Make a Box Sing, Part 2

Here is a video of Kyle Throw playing the Torres/Santos style guitar that I finished this summer. The guitar has a Engelmann spruce top with California laurel back and sides, 650mm string length.

This guitar is very responsive, very loud and is capable of many musical nuances, with proper playing and care it will continue to improve and become a magnificent guitar!

Kyle performs the Fandanguillo from the Suite Castellana by Federico Moreno Torroba.

Tuesday, November 11, 2014

How to Make a Box Sing

Stephen Valeriano and Kyle Throw, both classical guitar students at Metropolitan State University, Denver, stopped by my shop last weekend to play two guitars that I have on hand. Kyle also came by to pick out the wood for the new guitar that I will be making for him over the winter.

Stephen played Heitor Villa-Lobos' Prelude No. 1 in e minor on a Sitka spruce/black walnut guitar that I made a while ago.

He does a wonderful job with this piece, he is a very sensitive musician and I expect great things from him.

Enjoy!

1860's Greek Revival House: My Work Is Done!

Greek Revival A style popular in the first half of the nineteenth century, it favored the Greek version of Classicism over the Roman. This meant eschewing arches in favor of post and lintel, basing forms on the Greek temple, and using the Greek version of the Orders.

Mark Gelernter, A History of American Architecture, 1999



Two weeks ago, I and my co-worker, Michael Lohr, were able to walk away from the 1860's era Greek Revival farm house that we worked on all summer.

Siding was replaced, a new door matching an original was added, several days were spent in a skid steer landscaping the grounds, and paint was applied to the building.




Here is what the house looked like when I started working on the building...




Siding and landscaping completed...



A fresh coat of paint...



reveals a true gem.

Monday, November 3, 2014

Hernandez y Aguado Style Guitar - Douglas Fir Top, Mahogany Back and Sides

The classic guitar is a delicate equation painstakingly conceived to produce a brilliant, balanced tone over its entire playable range.

Irving Sloane, Classic Guitar Construction, 1966


The young guitar student that I mentioned in my last post came to my shop yesterday to take delivery on the Douglas fir/mahogany guitar. It is a close copy of a guitar made in 1968 by the great Spanish makers, Manuel Hernandez and Victoriano Aguado.




The top is from a salvaged Douglas fir board...





...and the back and sides are Honduran mahogany.


The young man played several Catalan songs arranged by Miguel Llobet, I thought I was listening to an old recording of Andres Segovia! This guitar has an old Spanish-like quality to it that gave me goose bumps, it sounds so wonderful! I can't wait to hear this guitar in six months!

I hope to get a chance to record the young man and his guitar this winter so I can post the videos on this blog.




He and his father gave me a deposit so I can start working on another guitar for him.

He really likes the Douglas fir for its sound, now I need to convince him to let me use sustainable woods that grow here in North America for the rest of the guitar...