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Walt Quadrato of Brass City Records needs our help in his battle against cancer. Walt is an exceptional guy who has always done right by the hand tool community this web site serves. Family and friends are conducting a fundraiser for him they've dubbed "WaltFest". The following link is to their giveforward.com page.
Thank you for everything you have given so far. If you can help out, please do.
Brokeoff Mountain Luthierie
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".
Well, 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!
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. Personally, I think this vise is a piece of junk and isn't worthy of being a boat anchor-I have to use excess torque on the vise screw to hold the work piece and even after that the vise will turn on its tower, etc., etc. I am too cheap at the moment to replace it with something else.
Funny how deadlines can get in the way of doing things.
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.
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.
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!
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!
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.
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.
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.
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.
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...
Antonio Marin: Yes, but only two or three per year. This is a spruce town.
From an interview with the great Granada guitar maker, Antonio Marin, American Lutherie #117
A young man visited my studio the other day to chose a guitar from my inventory, he was looking to replace the Asturias brand guitar that he is currently playing. His two complaints about the Asturias were the string length (656mm) and the neck is too thick and rounded.
I handed him a spruce/walnut guitar (photo above) with a scale length of 650mm. He loved the neck and the string length, but I noticed right away that he was struggling to get a good sound out of it.
So, I pulled out one of my latest guitars, the one based upon Antonio Torres's guitar FE 19, which is loud, has an amazing voice and capable of many nuances and again, as he played this guitar I noticed that he didn't get along with it.
"Wilson," he said, "I really want to play that Douglas fir/mahogany guitar that you brought to the Guitar Celebration at Metro State."
I got that guitar out of its case and handed it to him.
It was startling to hear him play that guitar, it was clear that a spruce topped guitar was not for him. The piece of music that he played was immediately clearer in sound and quality, no flubs with the left or right hand.
This guitar has a 640mm string length, one-half inch shorter then his Asturias, which he noticed right away and mentioned that the neck on my guitar made it easier from him to play.
For a little experiment, I let him play my old battle axe, a cedar top Hernandis guitar with a 665mm string length that was made in Japan in 1973 and imported by Sherry-Brener, the one that I played at the Christopher Parkening master class (click here for my posting on that) all those years ago. Yep, he could play that guitar well and it turned out that his Asturias guitar has a cedar top.
I told him that at this point in his studies he is a Douglas fir and cedar man.
I never would have thought that wood could influence a classical guitar player that much.
A true Spanish guitar is made of spruce and rosewood, like the woods in the photo above. I strive to make as Spanish of a guitar that I can, even though I am not Spanish, I want to capture that sound I heard in Segovia's and Sabicas' recording when I was studying the classical guitar.
Working with these young musicians is showing me that I need to make instruments that fit them, that fit them physically, sonically and dare I say it, emotionally. The guitar they play should blow their minds so much that they can't stop playing it and through that constant playing they become better musicians. That is a goal worth working for.
The young man will come back next weekend to pay for and take delivery on the Douglas fir/mahogany guitar. He mentioned to me that he wants me to make him a guitar for his senior recital, which will be in one year.
I all ready know what woods I will use for that guitar: a Douglas fir top; black walnut back and sides; walnut for the neck; black locust for the fret board and bridge; and braced with Engelmann spruce.
All woods that grow in Colorado.
Time for me to go have lunch and get into the workshop and do some work!