I began this making this guitar alongside a student building his in February. Then a pandemic came. We focused on finishing his. To say the least, it has been a very strange gap between my last post and what I have to share today, which is a small gigantic milestone. I want to celebrate the fact that I’ve made 10 guitars.
But, aside from this being a trivial matter considering the moment we find ourselves in, there just really isn’t any reason why the number ten should be any more meaningful than 9. In fact, in some regards, the number 9 is a sacred number (in the Bible and also in other major religious texts and traditions). But, I digress. Let’s get to the pics, shall we.
Hart’s Guitars Ltd Co is back in full swing. Don from Brunswick is coming next week to stay here at The Bamboozle and build a guitar using plans based on an 1864 model of Antonio de Torres, an unrivaled and revolutionary figure in the world of 19th century classical guitar luthiers.
When I get a new set of plans…I trace all the parts, transfer the trace paper to the pieces of wood, cut and sand to shape.
Then I need to make a monstrosity of a jig to bend the sides.
I spend about an entire day building this “side bending machine” for each different guitar.
Slicing the wood for the side.
Bent side.
Tone bars cut
Layout for the tone bars.
Sitting in place.
I came in with big ideas for the soundboard’s appearance. It got off to a slow start.
The guitar is from a set of plans for an 1867 Francisco Gonzalez and he had a much more flamboyant rosette and binding style than most guitars we see today. My intent to make this one in his style really got off to a slow, then ugly start. I almost threw the soundboard away.
I was not even close to happy with the way this was developing. I screwed up. The outer ring is made up of three slices of different species of wood bent to circles. From the outer layer goin in: Brazilian Rosewood, Spanish Cedar, Cocobolo Rosewood. You can see that some of the pieces were damaged especially in the 3 o’clock range. I’ve read that the secret to becoming a better luthier is to become better at covering your mistakes. So, I stayed with it and I’m surely glad I did because I am so proud to say that I turned it into this….Ugly duckling into swan.
The big slightly raised outer ring is mahogany with a thing edge of Brazilian Rosewood. The soundboard is Alaskan Yellow Cedar. The binding that flows along its perimeter is made up of three thin strips of different species of wood that I spent forever and a day cutting, sanding and re-sanding, throwing away, re-cutting and sanding (Cocobolo Rosewood, Maple, & Chakte Viga). They meet up at the corner with with a beautifully made vintage strip of binding I found at a local exotic-wood shop, Carlton’s Rare Woods and Veneers.. The sides of the guitar is bird’s eye maple. I’m beyond satisfied with how this all turned out aesthetically. It added a week to the job of building this instrument, but in my attempt to balance the art and the science of being a luthier, I’ll always have my scales tipped to the art side.
A while back I asked people to vote for the fingerboard to be used. It was a very contested result, split down the middle between choices B and D. So, I threw the results out the window and went with the canary wood, E.
The headstock just stands out better with this fingerboard, Choice E.
ALong the way, I had to get a new bandsaw blade, one of the costs of doing business..It was my first foray into Covid-19 land adventuring that was anything more complicated than a grocery store run.
Some pics of the process of making Guitar 010.
This has been a fun one to play and it sounds really distinct. I’m still letting it “settle in” which is a phenomenon that takes place over a few weeks and longer wherein the instrument plays and sounds a little better with every passing day as you make micro adjustments. It will be available for sale with all of the others, except 001 of course, in the coming days on a newly designed store page, with prices and photo montage videos with audio of the instrument being played.
Brazilian Rosewood center strip.
Birde’s eye maple sides. Alaskan Yellow Cedar top.
This instrument sounds amazing. I am ready to sell it with no hesitation for $1795. This is quite a bargain for anyone who knows what hand-crafted guitars go for usually or have seen websites that sell independent-luthier handcrafted classicals. I will personally deliver within a 2 hr radius of Atlanta, GA for gas money and lunch. Honestly, I hate the thought of my instrument sitting in a place where it’s not cherished. If you have buyer’s remorse, there’s a no questions asked 30-day 100% money back guarantee. After that, a lifetime guarantee on anything other than normal wear and tear.
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.
Billy H.
Billy tunes his guitar for the first time.
Brazilian Rosewood stripe down the back. Limba tone wood and sides.
During the last couple of days, there was a lot of sanding and French polishing to be done, so I did a lot of thinking about my next project.
Just like Jeffrey’s classical, Billy’s is only “finished” in the sense that it’s time to let the instrument settle in, then we’ll revisit and do a final, microscopic setup to make it play like a dream.
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.
Template for the guitar in the foreground, soundbars have been cut and roughly shaped.
gluing on the Lower cross strut with hot hide glue.
Tranverse braces being carved down to height at the ends.
Billy cleaning up the glue squeeze-out with a chisel.
With the neck and top joined, Billy chisels out the hide glue squeeze-out.
Cleaning out more squeeze-out.
How the top is attached to the neck. The block on the far right under the soundboard is there for support, to hold it in level plane with the neck while the glue sets.
Gluing on the soundbars (the five pointy things), then carving them down to the thin tapered look in the last photo is a process called “voicing the top.” In a nutshell, it is an effort to achieve a balance between flexibility and strength. Then, the soundboard and neck are joined.
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.
This took about a day to make.I could have bought one for several hundred$, but I’m poor, so…….
Using clamps to hold the sides in place and square to the soundboard, we installed the kerfing.
The limbs kept showing a tendency to crack, so I decided to add a lining around the inside for added strength.
Kerfing around the top can be held in place with regular clothespins wrapped with rubber bands around the clamp end for added strength.
Billy uses a finger plane, my favorite tool in the shop, to bring the lining down flush with the sides.
“Hand made” (en español) is Billy’s inscription on the soundboard. March 2020.
Attaching the sides, the pieces of wood begin to transform into an instrument. Lots of work goes into all the parts and when they begin to become whole, we begin to develop butterflies.
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.
Back to doing one of his favorite tasks in guitar building using one of his favorite tools, Billy uses the finger plane and shapes the braces for the back of the guitar.
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.
Cut a 1 1/4″ dowel into 2x the number of clamps you’re making.
Each clamp will be made of a 5/16″ carraiage bolt, washer, and wing-nut.
Build a little jig where you can simply place the piece into a corner, drill through it, and voila.
Put the pieces in a box of some sort.
Carry them upstairs to your little work desk (or TV dinner table, whatever YOU call it) glue cork onto the one of the sides.
Trim the cork off flush to the spool with an exacto while you watch the Family Feud channel.
When they’re put together, orient the pieces so that the cork sides will be contacting the instrument. I need to make more spool-clamps, about 3x what I actually made.
I had been wanting to make spool clamps all along in my journey through acquiring and making tools for the process. Now, I have some and I know how to make more.
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.
This is actually the Goya G-10 Jeffrey built, but it shows the routing of the binding channels. It has to be precise or it will be an unpredictable outcome.
Also part of the binding and purfling artistry is the addition of an end piece. Here, the area has been routed.
To do this work, I made a place to hang the guitar in such a way that I could have easy access to the bottom and with two free hands. It’s two old wooden chair legs with cam clamps.
A piece of that Brazilian Rosewood is now the tailpiece.
Put into place with hot hide glue.
Endpiece in place.
Indian rosewood for the binding. Much more tape was used while the glue set.
Brazilian Rosewood back stripe and Indian rosewood binding for the back.
Lots of stretching tape to its max to hold the binding down tightly.
While the glue dries in the binding, Billy does some prep work to the neck, getting ready for the fretboard.
With the tape off.
The binding is DONE!! Now, time to use that $125 piece of Brazilian Rosewood to make a fretboard!
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.
Brazilian Rosewood has a nice fragrant aroma when cut, sanded, planed, scraped. In fact, the tree used to be harvested to make perfume and because it took massive amounts of the wood to extract a tiny bit of oil, the tree became endangered as it was already beloved by luthiers and furniture makers.
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!
Without taking any pics of the fret slot cutting and installation, we were able to get to this point nonetheless.
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.
At 2:20 am this morning, Jeffrey and I made the last incision into the depth of his high E nut slot to bring the string’s action down at the lower frets 1-3. And…..we were “finished.” HAHAHAHA. If you’ve ever made anything with your hands where you’ve put a lot of time and energy, you know that no such project is every really “finished.” Here’s a shot from around 1:45 a.m., the moment we had been waiting for since we began the journey: bringing out the color of that granadillo and mahogany to its full richness and depth. It was late and the only way we could see it was under the shop lights, which aren’t bad but definitely don’t give the same hues the Sun will.
In South America, it is highly regarded as the best tonewood choice for marimba and xylophone bones and is often referenced as “La Madera Que Canta” (“wood that sings”).
Mahogany soundboard tastefully paired with granadillo sides and back.
Mahoney’s oil wax finish with acrylic paintbrush.
Installing the tuners like a pro. A very excited, wired, and sleepy pro.
In the shop, it was the beginning of guitar 008 but Jeff was student 001 at Hart’s Guitar’s School of Lutherie guitar building intensive. Along the way, I learned that the body style Jeff was building, a Goya G-10 (classical guitar made in Switzerland in the 1950s), is the same guitar, the very SAME! guitar, held by Julie Andrews in The Sound of Music. Jeffrey selected wood that makes it look pretty distinct from that famous guitar. We love the shape and size. It feels so good in your hands. Also, the scale length is 630 mm instead of 650 (which is .78″ or about ¾”). That difference of ¾” is enough to make a world of difference when it comes to playing a guitar. The standard for classical guitars has always been 650 mm (25 ½” roughly). Quick fact: Not everyone’s hands are the same size. Countless people have probably not had success in learning to play guitar because this standard scale length made learning not pleasant for their hands. At Hart’s Guitars, we can build your guitar perfectly sized to fit you.
A very cool guitar. With a few questions and measurements using your thumb and pinky, I can determine the best scale length for your guitar and we can build it to fit your hands!
We worked mostly on the weekends and a few weeknights. We began in early January. Jeffrey was a great student with cabinetmaking woodworking experience. He picked some really nice wood on our trip to Carlton’s Rare Woods and Veneers.
There’s no such thing as too many clamps!
Tons of scraping and sanding to remove glue squeeze out and blemishes.
Jeffrey’s newfound love: card scrapers.
Filing, shaping, sculpting the neck.
Applying Mahoney’s Oil Wax Finish
Coming down to the finish line around 1:30 am.
Cocobolo binding with granadillo back and sides.
Mahogany neck and headstock veneers. Installing the tuners.
Playing the first chord.
Wowee! Look at that beautiful thing. Mahogany top. Granadillo back, sides, and fretboard..Mahogany gives a really special response in the bass range and has been my favorite tone wood.
My first student at Hart’s Guitar’s Co. Ltd has been a friend of mine for a long time. His wife bought him a spot in my guitar building intensive as what must be the coolest Christmas gift ever for anyone who plays guitar. We’ve had so much fun reliving the time we knew each other Athens, GA where we met. For a short while we were even roommates sometime around the year 1999 or so.
We decided on his first visit to the shop that we’d be building a Goya G-10. The Goya brand name was initially used by Hershman Musical Instrument Company of New York City in mid 1950’s for acoustic guitars made in Sweden by Levin, particularly known for its classical guitars. In the 1970s, CF Martin (Martin guitars) bought the company and kept producing guitars under the brand name until the 90s. The “Goya” name comes from Francisco Jose de Goya, the famous 18th century Spanish painter known as the father of modern art (Francisco drew a lot of Spanish guitar players too). There’s a Goya G-10, made in Sweden, hanging in my house that belongs to my lovely girlfriend and it’s a beautiful antique instrument that plays like a dream.
This Goya G-10 was made in 1955!!
Jeffrey has woodworking experience so it’s been a joy to give him basic instruction and watch his mirror neurons replicate through his hands exactly what I’ve demonstrated. He’s putting together quite a fantastic instrument.
Jeffrey’s Goya G-10 will be made with Grenadillo back and sides. It’s a very hard wood.
Refining a piece of mahogany to turn into a guitar neck.
On the bandsaw, carefully cutting out the body shape of the back.
Carving the heel block at the back of the neck.
After much carving and scalloping, the finished soundboard for Jeff’s guitar. Traditional “fan bracing.”
Sanding the headstock before gluing on a veneer.
Bracing the back of the guitar.
After a long battle bending the sides, we were able to attach them to the top.
Jeff perform’s a final inspection of our work before heading home to his family.
A great eye for detail and a luthier’s patience. This will definitely not be the only guitar Jeff builds.
A final cleanup and sanding.
Past the halfway point. This is going to be a beautiful instrument.
My first student at Hart’s Guitar’s Co. Ltd has been a friend of mine for a long time. His wife bought him a spot in my guitar building intensive as what must be the coolest Christmas gift ever for anyone who plays guitar. We’ve had so much fun reliving the time we knew each other Athens, GA where we met. For a short while we were even roommates sometime around the year 1999 or so.
We decided on his first visit to the shop that we’d be building a Goya G-10. The Goya brand name was initially used by Hershman Musical Instrument Company of New York City in mid 1950’s for acoustic guitars made in Sweden by Levin, particularly known for its classical guitars. In the 1970s, CF Martin (Martin guitars) bought the company and kept producing guitars under the brand name until the 90s. The “Goya” name comes from Francisco Jose de Goya, the famous 18th century Spanish painter known as the father of modern art (Francisco drew a lot of Spanish guitar players too). There’s a Goya G-10, made in Sweden, hanging in my house that belongs to my lovely girlfriend and it’s a beautiful antique instrument that plays like a dream.
This Goya G-10 was made in 1955!!
Jeffrey has woodworking experience so it’s been a joy to give him basic instruction and watch his mirror neurons replicate through his hands exactly what I’ve demonstrated. He’s putting together quite a fantastic instrument.
Jeffrey’s Goya G-10 will be made with Grenadillo back and sides. It’s a very hard wood.
Refining a piece of mahogany to turn into a guitar neck.
On the bandsaw, carefully cutting out the body shape of the back.
Carving the heel block at the back of the neck.
After much carving and scalloping, the finished soundboard for Jeff’s guitar. Traditional “fan bracing.”
Sanding the headstock before gluing on a veneer.
Bracing the back of the guitar.
After a long battle bending the sides, we were able to attach them to the top.
Jeff perform’s a final inspection of our work before heading home to his family.
A great eye for detail and a luthier’s patience. This will definitely not be the only guitar Jeff builds.
A final cleanup and sanding.
Past the halfway point. This is going to be a beautiful instrument.
