Finishing coat apply

     I completed the finishing coat apply work. I have been using the Emitech EM6000 water based lacquer. This finish works the best in summer. So, this weekend was the perfect condition for spraying sessions. I applied 5-coats on Saturday. Then, I had a 400-grit sanding this morning. For the sanding, I made the clean leveling for body, neck, and bridge. Then, I applied five more coats. There are 10-total coats. However, the 400-grit sanding process removed quite a lot for the first five coats. This sanding process helps a lot for the wet sanding process. At this moment, my guitar already have quite good surface quality. 

     The finish curing time is at least 10-days. After 10-days, I will have a wet sanding session. I only have one wet sanding. The 2000-grit sanding takes time for the polishing ready surface making. However, this makes the best quality.

Bridge making and Epoxy filling

Bridge making and Epoxy filling works have been done. Bridge was made from an old grown Brazilian RW. This bridge has very dark chocolate color. I also completed the Epoxy pour filling work. I have been using the system-3 epoxy with the silica thickner. This filler is the best for me. African black wood does not need the pour filling work. However, I did one court of the Epoxy filling for filling the purfling section. The mahogany neck must have the pour filling. I completed the pour filling and sanding works for the body, neck, and bridge. So, this guitar is ready for the spraying session. I will spray final coats this weekend.

Neck making complete

     I completed neck making. I have been using the traditional neck shaping technique Japanese guitar makers have been using. The first step is making a square shape for the desired neck thickkness. At this moment, neck this ness is the final profile. Second step is tapering the squared neck shape. The center line on the tapered section represents the top of the half section of the rounded neck top. Then, the final step is round the neck for the final shape. When rounding the neck shape, I have never touch the centerlines at the neck center and the center of the tapered sections. This technique enables to duplicate the neck shape precisely. Also, this technique enables to make accurate straight lines. I learned this technique from Taku. Taku learned this technique from his working experience in a Japanese guitar maker. 

     The last steps are the bridge making and the final sanding.

Neck making part-3

I have been working on the neck making. This week, I completed the head plate veneer install for both front side and back side. The front side veneer is African BW with white (maple) and black (dyed maple) laminate. Back side veneer is the 0.7mm thickness Catalog. The total Neck head thickness is 14.5mm. Taku told me that the neck head thickness must be 14.5mm, and this thickness makes the most beautiful neck head. I also completed the drilling work for the machine head. I will use the schertler machine head. This machine has ebony knobs that matche the African BW head plate overlay. I also completed the fingerboard radiusing. I have been using the 20' fingerboard radius for my steel string models. This neck has a premium grade Brazilian RW finger board.

Next week, I will complete neck shaping and the fret wire install. So, wood working for this MD project will be completed.

Neck making part 2

     It been out of my work shop for two weeks. I had broken bone in my right leg. I got three locations of bone fracture. It was my Windsurfing accident.

Luckyly, operation for the broken bone is completed, and I am back to my work shop. My walking ability is limited, and the guitar making activity is slow now.

     I completed the neck joint fitting work. I also, completed the screw install to the neck. Neck joint requires a precise alignment for the neck angle for the strings action and the neck angle for the guitar center line. The ideal guitar neck joint for the center line is not straight. An extended neck center line is approximately 2.5mm off to the treble side. The other technique is to move the bridge location approximately 2.5mm to the bass-E side. Both techniques are for preventing the high-E string falling issue. 

     This design project has an elevated neck design. This neck is approximately 11mm elevated at the neck joint. Also, the fingerboard extension from the neck joint is isolated from the sound board. To make the solid fingerboard extension, I installed two 5x7.5mm carbon fiber reenforcement rods. Then, I installed the fingerboard. I have been using epoxy for the fingerboard install. Franklin Wood glue makes good bond for the fingerboard install. However, the wood glue makes neck reverse bend (anty bow) due to the moisture. For the precise neck bend controll, Epoxy glue is the best for the fingerboard install. 

Neck making part-1

     I have a good progress for the neck making. A neck branks have had assembled before the body assembly work. This long time delay helps the neck blanks stabilization from the gluing work.

 I have been using a 1x4" and approximately 7' long flat sawn mahogany or Spanish cedar. Believe or not, those expensive neck wood are solid floor materials, and you can buy cheap . Three piece laminate neck becomes one piece equivalent integrity at the heal section. I can make a nearly perfect quarter sawn neck. Also, the three piece configuration is much stronger and stabler than one piece neck. My neck has two carbon fiber reenforcement rods and a double action truss rod. My neck has a truss rod access tonnel made by Brazilian RW. This makes a perfect contact between the nut and the neck. 

     I completed a 25.4" scale slotting for a Brazilian RW fingerboard. This is a donated material from my long lasting friend. This Brazilian RW finger board was cut for late Taku Salasita's project. The MD model design is based on the Taku's blue print. Whenever I make the MD model, I remember Taku. That is why I selected this material. I never forget a grate guitar maker, and menter of my guitar making late Taku Sakashita.

Beveled armrest completed

     The Blbeveled armrest and the neck joint beveled edge are completed. I used the African BW veneer for beveled edges. Gluing work for the beveled edge veneer is a tricky work. The veneer must be precisely cut and curved to the beveled edge. I used the Epoxy with super fine African black wood sanding dust. This makes almost invisible glue joint. The beveled edges seemlessly connect to the binding. After scraping and sanding work for leveling, the binding and beveled edges show clean design with black white border.

     This guitar will have an elevated neck with the beveled neck joint. This combination makes a cut-a-way equivalent play ability at the high position. This design can be maintained the maximum body chamber size, which enables full sound capability. Also, the elevated neck will be isolated from the sound board. This isolated fingerboard design maximizes the sound board vibration. This design improves the sound quality particularly bus side due to the full length of the active soundboard.