Mission impossible

I made a head plate overlay from a beautiful African black wood. I slised a 7mm thickness material into one book matched 3.5mm thickness set. This head plate material was originally sold for one set. However, I needed to make a head plate overlay with nice center strip decoration using the sapwood section. Usually, slising a hard wood from a thin material is quite challenging. However, I used a specialy designed bandsaw blade for precise slising. This custom bandsaw blade made this challenge possible. The book matched head plate overlay looks really nice. Also, I can make one more book matched set from this large size material. So, I made good cost saving also. 

MD complete

     MD making project is completed. I have spend 5-month to complete this project. I installed the Schertler ebony knob tuning machine to match the ABW material. I am also installed and tested the K&K sound pick-up system. The pick-up system showed very natural and loud sound with my Yamaha gig system. I installed the D'addario EJ16, 0.012-0.053 phosphor bronz strigs. This guitar showed even over tone distribution from bass E to treble E strings. My client requested a good over tone generation with gentle touch. So, I made a little bit thinner and aggressive sound board thickness graduation. For the gentle touch, I set-up 1.7mm treble E hight and 2.3mm bass E hight at the 12th fret position. This sound board tuning and the strings set-up worked well for this guitar. This guitar does not need worming-up session to maximize the sound quality. This is a super responsible guitar. 

     This guitar has all African black wood construction for back, side, binding, beveled edges, Rosetta, neck heal cap, and head plate overlay. I also picked a super dark Brazilian RW bridge to match the ABW material. So,this MD is one of a kind black beauty special guitar. I have confidence that this guitar will be a long lasting partner for the ordering client.

Polishing and bridge install

     Final polishing and bridge install are done. After 10-days from the final finish apply, I can polish the body, neck, and bridge. I have been using the 3M, 401 wet sandpaper #2000-grit. I only have one wet sanding session. Then, I have one hand polishing session using the Meguire mirror glaze #7. 

     After polishing the body, I installed the bridge. I have been using the vacuum bridge clump. The installed Blbridge needs a drilling and tapering the bridge pin holes for fitting the bridge pins. 

     Next step is the nut and the saddle making, fret wire leveling and dressing. I will put strings and test this guitar next weekend.

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.