Official Luthiers Forum!

Looks like you're on the right track Waddy..!...a couple of suggestions though.....

Your "hold down" bar should extend back to the vicinity of the bridge area on the top and should in turn hold a notched bar to jump crosswise over the fan braces (arched to match the curvature). You can then use the notched bar as a bridge caul when you get to that stage.

As we discussed in the other thread you should profile your heel  more closely to it's final form....looks like it's quite a bit more massive than it needs to be at this stage.  

Also find a way to attach your hold down bar so that it can be removed once the body is together......you won't be able to undo that wing nut once the back is on!!

Best!

Waddy, installing the back braces into the body first is a time honored method and enables you to refine the back curvature using either a radius dish or curved sanding stick. Be sure to place props under the braces so that they won't deflect under the pressure of gluing the back. I'm assuming that you will use the go-bars to put the back on?? If you use the traditional cordage method, be sure to trim the back to the precise shape as any overhang will be leveraged up and ruin the joint.

The tricky part of this method is fitting the brace intersections with the center reinforcement strip as well as keeping the amount of squeeze out to a minimum. Once the back is on you won't be able to get back in to remove it. Fish glue is good for this operation as it gives you more open time than Titebond.  

Stepping back to fitting the sides, be sure that the form/brackets allow the sides to rest well against the back of the heel, trimming the  profile is as much for this reason (so you can better see the "fit") as it is to lssen the amount of stock removal once the neck is inconveniently joined to the body.

I too am interested where you referenced the Romanillos technique........at the course in Siguenza last august he mentioned that his method book is soon to be published but I've never seen much if anything out there which explians it.

Best!  

Thought these might be of interest. These are my fixtures which were derived from those used at the course in Siguenza. The solera is quite similar though I opted to make the solid side rails as opposed to the angle brackets. I may modify this by segmenting the rails and providing for a small amount of adjustability in and out to better snug the sides around the trimmed top....Note the hold down bar and bridge caul. Also note the contouring which has the high point at the bridge location and which extends right back through the sound hole area.

"Does the whole neck fit through your slot cutting jig? Do you cut it before shaping the foot side of the neck, while everything is still square?"-

I establish the basic taper of the neck block and shape the foot prior to cutting the slot. As shown the jig will only accept the blank through the opening with a taper. I suppose it could be made to accept the squared blank but one of the functions of the jig is to establish the wedge shaped center web between the heel and the neck block.The saw blade I used was limited in width and thus the angle. Once the slot is cut and cleared, I then can carve and establish the profile of the heel where it meets the sides.

" I asked before, but what surfaces do you glue on the wedges?  I know none on neck to sides - how about wedge to sides?  I assume you glue wedge to wedge, and wedge to neck, both at the foot and at the web between the slots."

Yes, wedge to wedge gets glue as well as wedge to side and wedge to neck block

Actually that cordage is 1/8" nylon with really no stretch......I was maintaining the tension while Jose' put a clamp on over a brace location. Note that the solera at the course had angled brackets and we used a triple cruciform "tree" which funneled the cord over the braces.    

Well, yes and no, I think some of the methods we experienced at the course were designed to make it more economical to accomodate 20 students using less clamps etc. and I actually prefer many of the methods I've used over the last 25 years or so...........Jose's method does however include some quite elegant techniques which I feel priviledged to have learned........and his aesthetic is unsurpassed..............here's a detail of one of his guitars for inspiration:

Beautiful work indeed!

Waddy, looks like you have a VERY nice guitar on the way too. A little different than the style of building I am used to, but obviously efficient and accurate. Thanks for sharing!