Kohei Fujii Guitars

Kohei Fujii Guitars

Sunday, April 15, 2018

Epoxy filler apply

All wood working are done. I completed the first session of the Epoxy filling work. King wood back and sides require at least two Epoxy filling/sanding sessions. Hopefully, this guitar is able to obtain good enough filling quality. If not, I will have three sessions to complete the filling process.

Sunday, March 4, 2018

Binding and scroll edge making

Ebony binding installation work was completed. Ebony is a very difficult material for bending installation. This material is very brittle an requires extra caution for the bending work. However, this material makes a real beauty of black and white trim. I also, has been using the scrolled edge decoration for my Jazz nylon model. Scrolled edge requires nice jet black color for using the blacked died material. After sending lengthy detailed installation works, this guitar shows beautiful scrolled cut-a-way edge.

Sunday, February 11, 2018

Neck making and more

      I have not been updated my guitar making activities. There are many prepossess. Neck blanks making is done. My neck has unique vended square slots. I also has been using V-joint between the head and the neck. My neck also has unique three piece configuration for nylon strings model. I have been using non compromised and most time consuming neck configuration to make a super precise and robust neck.
     Channeling for the body is also done. Binding and purfling are ready for install.

Sunday, January 14, 2018

Closing box

Jazz nylon is ready to close the box. I applied two coats of shellac for the top and sides. After glue the back, I also applied two coats of Nitrocellulose lacquer to the back. After close the box, I already trimmed out the over sized top and back boards for gluing process. The box showed pretty long time decaying tapping tone approximately 1-second as I expected. I am very happy with this result. This is the first time using the Lutz spruce for the Jazz nylon model. Tapping tone was pretty much the same as the European top.

Sunday, December 31, 2017

Side assembly

     Side materials are vended and laminated. Sides are made from King wood and Yellow ceder laminate. Blocks for neck, tail and cut-a-way portions are made by Spanish ceder. My block is always made by recycled and salvaged ceder from my previous built. I glue together from small pieces to make large enough for block making. Cut-a-way design needs extra caution for assembly to make all parts are precisely assembled. Neck block also needs extra care to make precise curves for the neck and cut-a-way portion.
     The year 2017 is almost over. Thank you so much for subscribing this blog. I will continue this Juzz nylon model making the year 2018. Please stay tuned this page.

Sunday, December 10, 2017

Back making

     This week, I made the back. Material is the King wood from Mexico. King wood is one of the Dalbergia family. This wood has closed tonal resemblance to the Dalbergia nigra. I have couple of sets of the King wood. I jointed and applied the latticed bracing as my standard design. Lattice bracing material is the Adirondack spruce. This time, I thinned the King wood to 2mm which is pretty thin profile for the back to minimize the guitar weight.
     Next week, I will make sides using the King wood with the Yellow ceder laminate.

Sunday, December 3, 2017

Carbon Latticed and X-bracing

I created a new bracing pattern for my Jazz Nylon model. I want to increase more over tones. To make more over tones, I introduced ax X-bracing technique. I want to make more structurally strong in the upper bout section. Lattice bracing top does not have enough mechanical support for the top against the strings pull. Therefore, Greg Small-man type guitars have been using a massive play-wood based flame for the top as shown in the first photo. The massive flame makes super strong top. This flame also is able to support the super thin latticed top. As a result, this guitar design makes super laud sound with full over tones. I do not want to increase guitar weight. Therefore, I introduced the X-bracing technique. X-bracing has been using for the Nylon strings guitars for many builders. Martin guitar is the most famous builder. However, Martin's Nylon strings guitars have not been successful as the steel-string guitars. Martin has been using almost identical X-bracing pattern designed for steel strings guitars. Therefore, the Martin's X-bracing pattern is simply over built.
Paulino Bernabe has been using the X-bracing pattern. His guitar has exceptionally good tonal quality. A photo shown below is the Bernabe guitar, and you may see that the guitar has the X-bracing pattern. His X-bracing has quite wide angle to make the optimum resonance modes for Nylon strings guitars.
I borrowed Bernabe's X-bracing ides for Nylon strings guitars. However, my X-bracing design has more steel strings influences, because I have been making X-bracing for my steel strings guitars. My X-bracing has almost triangle cross section to make the strongest possible structure with the lightest possible weight. Also, my design has the sound hole supporting bars. Those bars contributes to increase the robustness in the upper bout. I also will install two carbon rods shown in below to improve the structural robustness.
Following photos are my new bracing pattern. I installed the 8x8 balsa lattice, and then I did the Epoxy Carbon vacuum laminate. This lattice construction is pretty much the same as the Small-man design.
 X-bracing materials were cut from Adirondack spruce logs. I have been using the Adirondack spruce for my brace making for my all guitars. Adirondack is one of the strongest material among spruce species available for guitar making.
 Those photos are completed top for the next Jazz nylon built. I am very excited about using this top. Top wood is the Lutz spruce that is a hybrid between Sitka spruce and Engelmann spruce.