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I am looking forward to getting 2 back from the finisher. A commission and a personal guitar which I have never played

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Time you enjoy wasting is not wasted time.

Thanks,

A few reasons, as you suggest you can see it from the sound hole, this guitar has a 10' back radius and the A4 bends in four directions. I like the stiffness the reverse kerfing provides for the top.

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http://www.Harvestmoonguitars.com

I recently completed this cutaway classical in Engelmann and Maple. It is falcate braced and has a 20 inch radius fretboard. Since I don't have to sell them I can ignore tradition!

Cheer Dave

Manzanita burl rosettes.

Got to make and try out the brace shaping jig from the Gore / Gilet book tonight. It worked great. Made enough back braces for 3 dreds in about an hour and a half.

Tomorrow I’ll make the jig that puts the radius on t the bottom.



Brad



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I'm trying something a little different in an 000:

I don’t have any builds going but recently refurbished a 50’s Silvertone archtop. Neck reset with conversion to bolt on, installation of a neck position humbucker, fret level, bridge mods and setup.
Had a good neck.
It plays and sounds great plugged in and has mucho mojo.

Anyone else have a weakness for these old catalogue archtops?

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It's not what you don't know that hurts you, it's what you do know that's wrong.

Working on my first 12. It's a deep OM with Malaysian Blackwood and red spruce. I had great freedom on this one. The only two requirements were: 12 strings and a wolf howling at the moon.

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Pat

That Silvertone is very cool. I've had a few old oddball archtops. Two Nationals and a Kay. I gave one of the Nationals to a friend about 12 years ago and he's been playing it in a couple bands since then. I ended up selling the Kay because it was hurting my left hand. The scale length was over 26", the fretboard was almost 2" wide, and the neck was quite chunky. I loved the fretboard and headplate inlays though.



Yesterday, I inlaid the rosette and sound hole binding in a dreadnought style top.

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Once in a while you get shown the light in the strangest of places if you look at it right - Robert Hunter

I have several guitars going. The first is a GC with Alpine/Madagascar. This one is in the beginning polishing stage and the neck should be glued on next week. I finished spraying in a couple months ago and set it aside while I boxed up

The 2nd which is an L00 in Red Spruce/Quilted Mahogany. The Mahogany should really pop under finish. This will be the one I will work on during the winter to prep for finish in the Spring.

The 3rd I have put together when my time allowed. It is Red Spruce over Rosewood and is also an L00. Hoping for a bit drier weather before doing the bracing on this one. It costs a small fortune to run a dehumidifier in California so I will take any help I can get.

Sorry this came after the Pics. Hit the Submit rather than edit button.

Tim

#2 and #3 classicals in the works, both commissions. One is EIR/Lutz, the other EIR/Western Red Cedar. Both based on the Torres SE 114 plan by Jeffrey Elliot, with a few tweaks of my own.

Torres style fans.


Trial fit. The neck block will get a major trimming, and wedges to hold the sides.

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formerly known around here as burbank
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http://www.patfosterguitars.com

One of 4 I have going . Mulberry and Cherry . Lil Heavy

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The Shallower the depth of the stream , The Louder the Babble !
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That B&S sure has the grain of Ziricote. I believed it when you said it. It is going to be a beauty

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Joe Beaver
Maker of Sawdust

Just finished my first electric. Ambrosia maple over swamp ash.

Made the radius jig tonight. It worked out pretty well. Easy jig to make and each brace only takes a minute to radius. Much faster than lapping in the dish. I’m using torrefied bracing right now. I wanted to have a planed edge instead of a sanded edge given how brittle the bracing is. I was thinking the sanded “mush” might be a weak point with torrefied wood, but I’m not certain. Anyway, here are a couple pics.







Brad


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This has been on my bench for a long time, way too long.

Figured Sapele OM.

This is during the CA pore fill stage, my first time trying it. I do like it better than epoxy.

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I'm not a luthier.
I'm just a guy who builds guitars in his basement.
It's better than playing golf.

What kind of CA are you using Kevin?

Starbond Medium. It was the easiest to work with IMO.

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I'm not a luthier.
I'm just a guy who builds guitars in his basement.
It's better than playing golf.

Last Thursday I was working on a headplate when I dropped it onto the concrete floor in my basement shop. It landed on the corner and split almost down the middle. Friday I was vacuuming the shop and dropped the vacuum handle (one of those rockler deals that hooks to the dust collector). The handle exploded as soon as it hit the concrete. Luckily my son was already in bed and couldn’t hear my sailor practice routine.


I decided that I would put a hold on building for the weekend and put some flooring in the shop. I used the dricore squares from HD. A little expensive but super easy to install. The rest of the basement is already finished. I had used these in the areas where there was laminate flooring and they worked great.

Some pics:







Note: The blocked door goes to the bathroom. There is another door accessible from the hall. Eventually this room will be a bedroom with a bath. A little suite, probably for me when my wife has had enough.

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That's a nice shop. Those lamps on the bench are interesting. What kind are they? Also wondering how your cam clamp wall storage works.

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Once in a while you get shown the light in the strangest of places if you look at it right - Robert Hunter

Those are heat lamps that Mr Farmer linked me to. I ordered them from EBay. They are the only lamp in that style that I’ve found that is anywhere close to the right wattage. The brand is called Electrix. You can find them on EBay or at Grainger.

The clamps are just on the studs for now. Once drywall goes up I’ll have to find a solution.

Edited to add: The heat lamps are for HHG, to keep parts warm. My shop stays pretty cool in the winter.

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I am in progress with a fairly unconventional classical. The outline as people will recognise is based on Trevor Gore's shape but the bracing in the lower bout is strictly Torres. A pretty thin Engelmann top. I'll let you know how it turns out.

Building a Taylor 814CE-style guitar for a friend with walnut and torrefied spruce from StewMac, Queensland Maple neck and Cooba headstock veneer (with trademark GSP inlay [WINKING FACE]).

This is #3 for me and my 1st cutaway. Thankfully Walnut is beautiful to work with.

Spraying with pre-cat nitro but it’s 36°C today and is drying too fast so I might have to let it cure for a bit, flat it back and do the remaining coats when it’s cooler.




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Not much going on in my shop at the moment, but I did finish this behemoth a while back. It is a fretless ABG, commissioned by a customer who's specialty is his own unique blend of traditional local fiddle music, world music and jazz, all played on a solo bass instrument. His music is available on Spotify etc, here's a Youtube clip to give you an idea (played on another bass I built for him some years back) https://youtu.be/FS_pycLihIE

This instrument is roughly 19" across the lower bout, with a 32" scale. Lutz spruce top, cocobolo b/s, mahogany neck, ebony fb. The ink scroll work on the top was done by a Hardanger fiddle maker here in Norway, in a style that is common on those instruments. Some of the other appointments, like the inlays and bone detail on the fingerboard end, are also my take on some of the Hardanger fiddle aesthetic, to complement the music it is meant for.

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Rian Gitar og Mandolin