Billy’s finished 1869 Francisco Gonzalez classical guitar.
Only days after we began our journey together, it became clear that Corvid-19 was no longer a warning but a guarantee. Billy and I decided we’d continue to do the class. I had some hand sanitizer and we kept our 1 Joey Ramone distance 90% of the time. Last night he took this beautiful instrument to show to his wife and kids: a Spruce top with Limba back and sides and a Brazilian Rosewood fretboard. The guitar was built from plans from the Guild of American Luthiers of an 1869 Francisco Gonzalez classic.
I can’t believe we made this. Thank you so much for this amazing experience.
A bit of a recap on our work together
Over the course of the first week, Billy and I accomplished a TON of items on the list to make his guitar. Then, I had to go home to Greenville, SC to take my mom to the doctor and spend a couple of days up there. When I returned, I fell ill for several days (not with Covid-19) and only days before the Coronavirus became an inevitability. After some delay, we were able to get back to work. Seeing the near future clearly in front of us and the disruption to modern life that was shaping up, we decided to just be casual with our approach, in no hurry. I advertise my guitar building intensive as a 7-day course. That flew out the window and we added to our projects the process of French-polishing our instruments. So, this also added a but more time to the process.
As we worked, we realized there was a lot of common ground in our life experiences. Days flew by quickly. Billy said he’d picked up so many skills that would be useful in his daily life and other projects. That is such a gratifying thing to hear as it’s what has been my wish all along from the beginning, when this hole business was just a daydream.
With the soundboard voicing, we really took our time and did things right. Those tonebars are very important in determining the character of a guitar’s sound. Some have said they could listen to a classical guitar played while blindfolded and name the luthier who built it. Billy and I decided to take an online course together on guitar top voicing.
Then it was time to bend the sides. It was the first time I had ever worked with Limba. I made a form to bend our sides. Heat is applied to the thin piece of wood using a thermal blanket with a temp controller.
With the sides attached, and glue drying, Billy now has to carve more cross strut braces for the back. The back will be entirely domed in a 25′ radius dish. It’s a process of sanding which involves pushing and pulling the back all around the dish until it takes on the domed shape.
Attaching the back……
Attaching the back is always a nerve-wrecking endeavor, at least for me. This time I decided to make some new spool clamps to aid in the process. Normally, keeping the back tight to the body while the glue sets is done using a number of clamps. That number is every clamp you have available in the shop. Plus rope. And a cinderblock on top. Here’s how a made the new spool clamps.
With the back in place, we move on to routing out the channels for binding, which is used to protect the edges of the top and back. Binding is also an area where some luthiers give a special touch, their own signature in the way they pick colours and textures.
Making the fretboard
Making the fretboard is a task. First, usually the piece of wood you plan to use is in the form of a short and slim board, called a “billet.” This particular billet was locked away in a special closet at Carlton’s Rare Woods and Veneers. It has been sitting in that closet since the 1970s. It’s a special collection of Brazilian Rosewood, which is now prohibited from being imported. There are many legal issues surrounding this wood including travel restrictions. Here is a good article on the endangered wood, Dalbergia nigra.
Early on in the process, Day 1 I’m sure, we planed this beauty down to be trued and squared in two adjoining sides. This way, it will be cut with precision by the bandsaw. Otherwise, it comes out ugly because the bandsaw will make it wavygravy. Not groovy!
So the final stage was a lot of sanding, pore-filling, sanding, pore-filling, and. Billy was a great student, a sponge for valuable and pertinent lutherie information. He was eager to learn and do a French-Polish finish for his guitar, which is not normally a part of the guitar building intensive. But, with nothing but time on our hands, I was more than happy to learn it with him. He ended up being my teacher in some moments. Here’s a slideshow.
1 thought on “Billy’s finished 1869 Francisco Gonzalez classical guitar.”
[…] https://hartsguitars.com/2020/03/31/billys-finished-1869-francisco-gonzalez-classical-guitar/ […]