The Soundboard

When the spruce arrived from Stewart MacDonald I started working on the top or soundboard. After the success of the back you would think that I would use the same technique to glue up the top that I used to glue up the back, but not me. Both of the books that I now was using for reference and most of the on-line videos that I had watched suggested using a different method of glue up. This method used no clamps, just a simple compression technique. So, I tried this method. It was simpler and required no special long bar clamps. I jointed the edges in the same manner as the back using the power jointer. Since I didn't need any long bar clamps I took the pieces home to glue them up over the weekend. I worked on building a simple glue up jig in my shop by using a 3/4" piece of MDF as a flat base. I drew a center line on the base and placed a 1/4" lattice strip on the center line to elevate the two halves of the spruce in the middle. After aligning the two halves of spruce so the edges to be glued were touching and elevated by 1/4", I screwed additional pieces of lattice to the base touching the outside left and right edges of the spruce. Now I could apply glue to the joint, pull out the center lattice strip and press the two halves down flat creating a nice compression fit.

Glue up jig with lattice strip in center.

Plastic sheet to keep the glue from sticking to the hold down bar.

C clamps securing the hold down bar.

Additional spring clamps to keep the top flat.

This method seemed to work great. . . but my finished joint was less than perfect. To check the joint I held the finished joint in front of a bright light to check the tightness of the seam. Uh oh, heck, darn (those were my exact words) I could see a slight gap at one end, so, I had to cut it apart and try again. I think the problem was that I waited almost two days after I jointed the edges before I glued them together. Combine the time and the fact that I changed locations with a change in humidity I think the two halves expanded and contracted slightly differently causing a bad joint. After splitting the joint apart on the table saw, rejointing on the jointer and regluing using the same compression method, I got a good joint. Weh! I used the same method to transfer the template and cut out the basic shape on the band saw that used for the back.

Back and soundboard cut out slightly over sized.

More Reasearch

I now have a roughly shaped neck based on a combination of specs and instructions from a book and completely different set of plans that I downloaded from the Internet. At this point I realized that the two different sets of plans, although the same size and model, were very different in construction and important details. This realization was the first of many small problems that I would encounter because I was using different plans for different parts of the guitar. A logical person would have picked one and stuck with it but not me, I had to mix and match and change as I went along. I think it has something to do with that left brain, right brain stuff. So, at this point I decided I needed another book and a lot more research because the book method for the neck joint was really different from everything I was seeing in other references. I ordered my second book. It arrived at my doorstep in two days just like the first, so I dove into it thinking it would surely answer all my questions.

My new bible on guitar building methods

It, like the first book had beautiful color photographs and great detailed drawings. It also had wonderful examples of finished guitars that made my head swim with ideas. Focus Larry! Stay on track, keep that creative brain in check. This one used the same neck joint method as the plans from the Internet. It was a classic dovetail joint. Perfect, if it was good enough for a Martin it was good enough for me. So I pressed on. I chose to stop working on the neck, mostly because I had to build the body before I could install the neck, and move to the top or soundboard. In my research I found out that for tone almost all guitars had spruce tops. Quality quartesawn spruce is not available from local sources, so I had to order it. I decided to order it from Stewart MacDonald, a luthier supplier that I had heard about in numerous places on the Internet. I ordered it and a few other items, including a router base for my Dremel tool. Just like the books it arrived on my doorstep in two days. Isn't the Internet amazing! In the shipping box they included a catalog uh-oh, that's going to get me in trouble. I quickly started working on the top and the back. I actually started on the back first while I was waiting on the top to arrive. Remember the maple board I told you about earlier that was a little shy of 8 inches. Well that was for the back. I resawed it to slightly under 1/4" on the band saw. The two pieces would be glued together to make a thin board 16" wide but you remember, oh yeh, the original wasn't quite 8 inches. I had a piece of rosewood that I had been saving forever for that special something. Well this was it. I cut a piece aproximately the same thickness and length as the maple to use in the middle to widen it to the necessary size. It turned out as a very nice accent and I am planning to use more of the rosewood for the finger board and bridge.

Resawing the maple for the back

Resawing was one of those techniques that I was afraid of. I had tried it before with less than great results. The right tool and Matthew's help - no problem.

All three pieces for the back, the two 8" maple and one 3/4" rosewood were jointed and sanded to even thickness and glued up.

Glue and clamping the three piece back. The bucket is a high tech weight to hold it flat.

Sanding the back on the drum sander

Coming out of the sander.

Establishing the center line and tracing the template

Using a washer to enlarge the template.

Detail of washer and extended outline.

The back was trimmed on the band saw to the outside line to allow a small overhang when attached to the sides.

The neck, finally a guitar part!

At this point I have the solera made with its accompanying clamps, the plans and the mounted template. It's time to start making a guitar. This whole process is really taking a long time but I am in no hurry. The book that I have starts with the neck, although he states it doesn't really matter what you start with, ultimately it all has to get done. I had to make some decisions about wood and purchase that before I could begin. The book said the most common wood used for the neck was mahogany, but being different I decided that I wanted to use maple. Off to the lumber yard. I found a good piece of 6 quarter hard maple with straight grain. I also decided to make the back out of maple, so I looked for a 4 quarter piece that was at least 8" wide that I could resaw. This proved to be a bit harder. I found a piece that was just shy of 8". I got the wood thinking I could make it work. Back at the shop, following the plans and the book, I started cutting up the 6 quarter in preparation of gluing it up for the neck blank. After squaring up the 4 quarter piece for the back on the planer and checking with the plans I realized it would not be wide enough, ooops, not my first and surely not my last mistake. I'll address it later, let's get to making the neck!

The neck with the head and heel glued and clamped

Another angle showing the three stacked pieces at the heel or base of the neck

The glued up neck block

After reading my book and doing more research on the Internet, I decided to glue up two stacked pieces for the head and cut the angle on the band saw. The alternate method and it seems the most widely used method is to cut the angle and turn it over and glue it back on using a scarf joint. This seemed like a weaker joint to me. The disadvantage of the method I used is there will be a seam line on the sides but I don't think anyone will be able to see it after it is shaped and sanded. I printed out more copies of my plans and cut out the neck top and side views. I drew center lines on the neck blank and used spray adhesive to glue the prints on the top and side of the neck using the center lines as guides to make sure I got them straight. The plans would be my guide for rough cutting the shape on the band saw.

Rough cutting the shape of the neck on the band saw

I tried to cut leaving about 1/16" from the line

The neck after cutting the top and bottom shape. You can now see the angle of the head.

While the sides were still square I clamped the neck in the bench vise and planed the top of the head smooth. I used a hand plane rather than a sander to try and keep it flat and square.

Neck clamped in the vise with the plane on the bench

Trying to keep it flat and square. Patience grasshopper!

After planing, I took the neck back to the band saw and trimmed the sides, again trying to leave 1/16" outside the line.

Finished rough neck!

My first real guitar part

I admit it, I was pumped. Yes, I played a little air guitar.

More getting started. . .

Sorry for the out of order sequence but I am still learning about this blogg'n thing. I have more pictures of the template, solera and clamps before I actually begin making guitar parts.

The solera and L clamps with the template in position

The 3M mounting adhesive and cork used on the spool clamps

The full size plans downloaded from the Internet, printed on a large format inkjet printer

Cutting out the mounted template on the band saw

Sanding precisely to the outside line of the template

Getting started cont.

The finished spool clamps will be used in combination with wooden L clamps to secure the sides, top and bottom of the body of the guitar in position on the solera. After the spool clamps were made from 5/16 threaded rod, 2" dowel sections, washers and wing nuts, I started making the L shaped wooden clamps from a construction grade 2x4, 5/16 carriage bolts and wing nuts.

cutting the 2x4 into square sections

cutting out the L shape on the band saw

finished L shape

setting stop blocks on the drill press

drilling holes for the carriage bolts

finished L clamps/supports ready to slide in the slots on the solera

In addition to the L clamps and the double ended spool clamps, holes were drilled between the slots on the solera and fitted with 5/16" T nuts so single ended spool clamps could be screwed in for extra clamping to secure the top and bottom of the guitar when glueing.

Let's Get Started

In my design classes I am constantly telling the students to research, research, research. So, I started my research on-line, duh doesn't everybody. I was pleasantly surprised to find that there was a ton of information on guitar building on-line. On my first Google search I came across a YouTube video titled "Guitar Building the Fast Way" uploaded by Yukon Strings. This 6 minute video was of a young man building a guitar in a small studio shop (almost looked like his bedroom.) It was compressed and sped up and it showed most of the process and of course he ended up with a nice looking instrument. Again, hope! If this young man could do this with limited tools and equipment surly so could I. After many, many, many more hours on the Internet I decided I needed a plan, literally, a set of plans to start building my first guitar. I came across some nice auto cad drawings of an OM style guitar based, I think, on a classic Gibson guitar. They looked good with good details and best of all they were free, so I downloaded them. I had officially begun. After many more hours of YouTube videos and printing out full size hard copies of my plans I decided I needed more research that I could hold in my hands. I guess I am still old school. Well, I am definitely old so I guess that makes since. I started looking for published books on the subject. Again, I was surprised that there were quite a few options. I ordered my first book from Amazon, "Step by Step Guitar Making" by Alex Willis.

  

It was delivered to my door step in a few days and I spent the next few days trying to absorb all the information in it. It's a great book with great color photos showing the entire process. With no luthier experience it was hard to understand some of the intricate and precise building methods used in Mr. Willis's approach to guitar building. Never the less, I began by building the Solera, the board that the body of the instrument is constructed on. At this point I also made the template for the guitar I was going to build. A full set of plans came with the book but I chose to build the guitar that I had downloaded the plans from the Internet. The book plans were for a cut away model (pictured on the cover of the book.) Although you could build it straight that cut away was a bit intimidating.

Solera with clamp slots and holes

template mounted on .25" Masonite

Solera with template in position

 The template is used through out the process to check position and reference size. It is used to trace the right side of the guitar body shape and center line on to the solera. It is then flipped to trace the left side. In addition to the solera many clamps and jigs needed to be constructed. Most of these in some form can be purchased from a luthier supplier like Stewart MacDonald or Luthier Mercantile International but I chose to make as many of these as I could, mostly to save money but also to add to the experience.

Cutting 2" dowel to make spool clamps

drilling center holes with the drill press

adding cork to the spools

Intro cont. . . .

Well, on with my "autoblogography." I guess the dream of building a guitar took its first breath and became a reality when I first told family and friends. The first person I told was my wife. Her reaction was supportive but less than enthusiastic. Something like "Sure hun, whatever." I then told my children. They were equally supportive. My son however, seemed genuinely interested. Maybe it's a guy thing, I don't know but he fanned the flame and has kept it going with gifts of necessary tools for all holidays and birthdays. He has wisely told me he would like to have the "second" guitar I make. The first is still under construction and I am already planning the wood, style and look of the second for him. After my immediate family I cautiously started telling a few more friends and relatives. One of the first was my niece and her husband Vici and Matt Heitzke. We shared a love of Mexican food and one local restaurant where we met each week for enchiladas and great family conversation. Again, Vici's response was less than enthusiastic and maybe a little more like "are you crazy and why." Matthew on the other hand was a little intrigued. Matt is a master woodworker/craftsman and he also played the guitar. I asked him if he had ever thought about building a guitar. His response was yes, and then I regained my sanity. He did say if I was really serious he would help and that I could use his shop. That was all I needed, I was in! My instrument is about half finished at this point and I can honestly say I would have never been able to get this far without his help and advice. THANKS MATT!!!!

Intro continued. . .

I know what many of my friends and family are thinking. I didn't know you played! I don't and your point? No, really, I have had a guitar on and off for almost forty years. I started in college because my good friend, Dalton Maroney bought an inexpensive Yamaha and started taking lessons. Within a very short time, it seemed like about a week, he was playing, singing and entertaining us all every weekend. HE GAVE ME HOPE! I bought a used guitar from the same shop and started lessons from the same person that Dalton used. To make a long story a little shorter, my experience was a little different than my friend's. My lessons lasted an entire week and my voice. . . well let's say it was not quite as polished as my friend's but I kept trying, and as long as Dalton was there to play with me and cover up my mistakes, I slowly improved. By the end of that summer I was up to about 5 chords! We all graduated, first my friend and a year later I graduated with an MFA in painting. I was very fortunate and found a teaching job at a small school in North Carolina. At that time it was called Pembroke State University. I believe it is now the University of North Carolina at Pembroke. It was a very small school with a very small Art Department but I loved it. My wife and I made friends, mostly with my students. One of those couples was Dave and Carol Peace. Dave was my age, he had been in the Army and was now pursuing his degree in Art in preparation for grad school in Medical Illustration. We became good friends with like interests, including the guitar. While we were there Dave bought a very nice Gibson and continued to try and teach me a few licks. After two years in North Carolina, I got a call from my grad school buddy Dalton, who was teaching sculpture in a small college in Sioux City, Iowa. He said they had an opening in his department for a painting instructor and that I should apply. I did, I got the job and we were off to the cold and frozen land of Iowa. It was great to be back with our friends from school and playing with Dalton, who by this time was becoming quite accomplished. I always liked playing with him because he knew a ton of fun COUNTRY songs which weren't too difficult for me. He sounded great and I could play very quietly and look good. Our relationship was about the only good thing about that school. Dalton left after that first year and here is where my interest in building a guitar was born. Most of our mutual friends at the college were in the Music Department. Art and Music shared the same building on campus, so we got to know most of the music faculty. When Dalton left, our music friends, threw him a going away party. At this party they gave him a classical guitar that was custom made by a local luthier/craftsman. It was beautiful with a highly figured rosewood back and sides. The story was that the wood for that beautiful guitar came from a railroad tie. I found out just last year that maybe that story was true. I was informed that during that time period railroad ties were being shipped in from Brazil and many were made from trees from the rain forest, Brazilian rose wood! I was struck by the beauty and craftsmanship of this instrument - I wanted to try it.

First post on my first blog

This all started a little over a year ago.  I was the Chair of the Department of Design at the University of Central Oklahoma.  I had held this position for the previous five years.  My term was coming to a close, and I was thinking about all the things I wanted to do with all the spare time I thought I would have.  I created a list, sort of a bucket list, of all the things I wanted to do after my Chair duties were over.  The number one spot on my list was to resume painting.  I have always painted, and I started a new series of paintings just before taking the Chair position.  The administrative duties combined with my normal teaching load did not allow for any time for the studio or much else.  The number two spot was to build an acoustic steel string guitar.  Both of these top two goals have begun with some success.  This blog is devoted to recording the ongoing efforts on goal number two -- building my first guitar.