Closing a box

     I closed a box for a nylon model. Before closing the box, I applied two coats of Shellac for side, back, and top. Shellac coating improves moisture stability for a completed guitar. I usually use amber (non bleached) shellac, because the non bleached shellac is able to make ticker and stronger coatings. You may see a shellac coated top, and the top has amber color. This is the color of amber shellac. After closed the box, I did taping test. This guitar showed more than 1-second long lasting tapping sound. Longer sustaining tap tone is a sign for creating a good sound quality for nylon strings guitars.
     Next week, I will close the box for the MD model.

Solid lining install

Solid lining, laminated side, and top thickness graduation are main contributors for determining my guitar sound characteristic. Solid lining is a really time consuming process. Kerfed linings are easily installed using small clips. However, solid lining requires pressing jig and C-clumps for gluing. I spend two days for installing solid linings. I also use 1-piece solid lining for cut-a-way portion. This 1-piece solid lining was cut out from a solid Walnut. Although I spend more than two days for lining assembly, completed side is amazingly strong and rigid without serious weight increase. Solid linings creates crystal clear treble also. Now, sides are ready for closing the box.

Side assemble

I did block making and side assemble. Block need perfect fitting to the mold. I mostly use mini planes to get nice fitting. Then, glue blocks using many clumps. I need quite creative assemble technique to obtain precise assembly the side. Next step is solid lining installation.

Body parts are ready

     This week, I finished all parts making for bodies. I made solid linings made from Spanish ceder (Cedro). I have been using solid linings for five years. This lining requires a lot of time to make; however, the solid lining  makes real difference of sound quality. More focused, clear, and over tones are generated for a guitar with solid linings. Solid linings make sides more strong and rigid with almost no extra weight increase. Cosmetically, solid linings are more beautiful although it sits inside the box.
     I also finished neck and bottom block makings. Neck blocks are also made from Cedro. Cedro is my first choice material for major guitar parts, because the Cedro is light, strong, easy to work, and smells pretty good. Working with Cedro is a really joy for me.Next week, I will assemble all parts to complete the body.

Side laminate

     This week, I have done side laminate works. Laminating side is a fairly common technique both nylon and steel strings guitars these days. My method has nothing new techniques. For me, side should be as hard as possible with minimum weight increase. Using material for side does not have strong influence for creating sound. I could use a spruce for side. However, side material should be a matched material with the back. This is a traditional design standard. Laminating material also does not matter for producing sound character. I usually use darker colored laminate material for lighter colored outer material. This time, I used Pau ferro for Myrtle wood, and Maple for King wood. Side laminate technique is also able to improve material flatness and stability. I am able to minimize a sanding session after the body assembly. Laminated side also does not need to install clack preventing ribs.
     Next step is solid lining and block making. Then, I am able to assemble the body.

Nylon Top complete

     I finished the top construction for the Nylon model. This is a new bracing pattern loosely derived from Kasha design. My version was created by based on my Kasha style guitar making experiences. This time, I changed body length approximately 1" shorter than original Kasha design. I also added a horizontal bracing at the wast portion to increase the fundamental resonant frequency of the body. This time, I want to make more Spanish guitar like sound. Myrtle wood for the back is also selected for Spanish like sound creation. I finished oval hole making and Hawaiian-Koa Rosetta installation.
     I also finished the gluing process for back ladder bracing for both Nylon and Steel models. Myrtle back has Maple like tap tone, and King wood back has very glassy Brazilian rose wood like tap tone. Two extremely different materials showed very interesting tap tones.

Top and back construction

     Top bracing construction has been done for the MD model. I have been using Sitka Spruce for the top bracing for both steel strings and nylon strings models, because the Stka has the best material strength property among spruce family. Top brace shaping is almost done. I need a little bit more final tuning for the top brace. This bracing patter is based on the Taku Sakashita's blue print that I acquired from Taku before he passed a way. He optimized his bracing pattern for strong middle range over tones, crystal clear treble, and fairly tight bass. This combination of the guitar sound characteristic is optimum for finger style solo players.
     Center strip instillation for the back is done. Center strip is Cedro. Back bracing material was cut. I am working on the back brace shaping. I will install back bracing next week. Nylon model uses Cedro for the back bracing, and MD model uses Honduras mahogany.