Build Table of Contents. 1. Introduction

Transcription

1 Build Table of Contents 1. Introduction A Brief Review of Assembly Systems Free Assembly Methods Constrained Assembly Methods Our Approach to Building Our Building System The Outside Mould The Use of Dishes and Go-Bar Decks The Bolt-On Neck Workshop, Tools, Equipment and Jigs The Workshop and Humidity Control Stationary Machinery Hand Power Tools Hand Edge Tools Standard Bench Planes Block Planes Finger Planes High Angle Planes Shaves Scrapers Chisels Saws Rasps and Files Sharpening Tools and Process Measuring Instruments and Marking Tools Clamps Spring Clamps F - Clamps G Clamps Instrument Maker s Clamps Trigger Action Clamps Parallel Screw Clamps Special Tooling, Fixtures And Jigs Body Shape Template Body Mould Go-Bar Deck Dished Work Boards Side Bending Equipment Binding Ledge Routing Machine Panel Joining Fixture Bench Accessories Bench Hooks Shooting Board Panel Planing Board Thickness Gauge Neck Carving Horse Routing Aids A Custom Fence for Routing Bridges A Trammelling Router Base for Circle Cutting A Simple Router Table Rectangular Work Board Bridge Routing Jig Body Mortise Routing Fixture Brace Bottom Curve Routing Fixture

2 Neck Bolt Drilling Jig Neck Tapering Fixture Classical Headstock Barrel Boring Jig Fretboard Caul String Spacing Tool for Nut Layouts A Note on General Gluing Practice The Neck Building the Neck Blank Cutting the Neck Tenon Marking Out Making the Cuts Thicknessing and Joining the Panels Squaring and Surfacing the Panels Tap Testing the Panels Joining the Panels Shooting the Edges Joining the Panels Rosette Making A Traditional Rosette for a Steel String Guitar Making the Rosette Former Squaring the Ends of the Shell Segments Assembling the Shell Ring Inlaying the Rosette into the Sound Board Levelling the Rosette A Contemporary Rosette for Steel String or Classical Guitar Producing a Burl Slice Routing the Rosette Blank Inlaying the Rosette into the Sound Board Final Thicknessing Sound Hole Reinforcement Patch Assembling and Shaping the Patch Blank Gluing Down the Sound Hole Patch Cutting Out the Sound Hole Tapering the Inside Edge of the Sound Hole Thicknessing the Sides Making Braces Preparing Back Braces and Conventional X-Braces for Tops Machining the Curve on the Base of the Brace Router Method Hand Tool Method Making Lattice Bracing Making Falcate Braces Preparing the Laminates Bending the Laminates Trimming the Braces to Size Tertiary Braces and Sound Hole Bracing Upper Face Brace The Bridge Plate Bending the Sides Using a Bending Iron Using a Side Bending Machine Bending a Venetian Cutaway Fitting the Sides to the Mould For a Non-Cutaway Guitar For a Cutaway Guitar

3 9. Making the End Blocks and Linings Making the Tail Block Making the Standard Bolt-On Headblock Making the Bolt-On, Bolt-Off Headblock for a Venetian Cutaway Making the Linings Preparing Top Linings Preparing Back Linings Making Side Splints Making the Mass Support Blocks Assembling the Sides, End Blocks and Linings Gluing in the End Blocks For a Non-Cutaway Guitar For a Cutaway Guitar Fitting the Linings Marking the Reference Lines Installing the Laminated Top Linings Fitting the tail block splint Marking out and trimming the side profile to take the back panel Installing the back linings Fitting the side splints Marking out and trimming the side profile to take the top panel Final shaping of the side s top and bottom edges Bracing the Panels Bracing the Back Radial Braced Live Back Installing the Marriage Strip Shaping the Marriage Strip Letting in the Transverse Braces Gluing in the Braces Scalloping the Back Braces Ladder Braced Back Bracing the Top Bracing Styles X-Braced Top Layout the Brace Positions Bridge Plate and Upper Transverse Brace The X-Braces The Upper and Lower Face Braces The Finger Braces Carving the Braces Carving the Finger Braces Carving the X-Joint Scalloping the Outboard Ends of the Braces Tapering the Braces The Linen Patch The Sound Hole Braces Note on J45 Back Bracing Note on Post Finishing Brace Tuning Fan Braced Top Layout the Brace Positions The Fan Braces Arching the Bottoms of the Braces Making the Bridge Plate Rebating the Fan Braces Gluing on the Bridge Plate Gluing on the Fan Braces

4 Carving the Fan Braces Gluing on the Closing Bars and Twin Lower Transverse Braces Gluing on the Upper Transverse Brace(s) Shaping the Closing Bars and Transverse Braces A Note on Back Bracing for Fleta Style Guitars Note on Post Finishing Brace Tuning Lattice braced top Laying out the lattice position Gluing down the lattice Carving the lattice Overlaying the lattice with carbon strands Adding the final braces Note on back bracing Falcate braced top for a 12 th fret neck joint steel string guitar Laying out the bridge plate position Drill the bridge pins holes Glue down the bridge plate and primary braces Secondary, Tertiary and sound hole bracing Shaping the braces Overlaying the bracing with carbon strands The upper transverse brace Note on back bracing Assembling the Top, Back and Sides Fitting the Back Panel Fitting the Top Panel Gluing the Back Panel to the Rims Checking the Neck Geometry Gluing the Soundboard to the Rims Thinning the Edges of the Top Panel Binding and Purfling Making the Bindings Cutting the Binding and Purfling Rebates Planning the Binding and Purling Cutting the Stepped Rebate Bending and Fitting the Bindings and Purflings Applying the Binding and Purfling Levelling the Bindings Note on Fitting Shell Purfling Fitting the Tail Strip Making the Tail Strip Chiselling the Tail Strip Channel The neck, Part 2; Fitting, and preliminary shaping Setting up the guitar in the holding fixture Routing the body mortise Fitting the neck Adjusting the tenon for width Trimming the tenon to length and depth Correcting the yaw angle Correcting the pitch angle Routing the truss rod slot Drilling the mortise for the bolt bar Drilling the holes for the head block bolts Counterboring the neck block Drilling the bolt holes in the neck Preliminary shaping of the neck Establishing the longitudinal thickness taper

5 Thicknessing the headstock Blending the head/neck curves Preliminary carving of the heel Making the Fretboard Preparing the Fretboard Blank Cutting the Fret Slots Fret Slot Spacing Low Technology Fret Slotting Higher Technology Fret Slotting Machining the Nut Ledge Nut Ledge for a Fully Compensated Nut Nut Ledge with No Nut Compensation Radiusing the Fretboard Tapering the Fretboard Fretting Choice of Fret Wire Preparing the Fretboard for Fretting Pressing in Frets Hammering In Frets Trimming the Body End of the Fretboard The bolt-on, bolt-off neck Routing the neck extension pocket Re-establishing the truss rod groove in the neck extension Fitting the T-nuts to the neck extension Special requirements for the bolt-on bolt-off neck for classical guitars Making the Adjustable Truss Rod The Single Acting Truss Rod Making the Adjusting Nut Making the Stop Block Making the Truss Rod The Double Acting Truss Rod The Neck Part 3; the Head Veneer, Head Shaping, Final Carving and Heel Cap Adding the Ears Making the Head Stock Laminate Gluing the Head Stock Laminate Shaping the Head Stock Fitting the Tuning Machines Gluing on the Fretboard Shaping the Neck Squaring the Neck Drafting the Cross Sectional Profile of the Neck Fitting Heel Cap Installing the Fret Markers Final Fitting of Neck to Body Finishing Surface Preparation Grain Filling Using a Traditional Oil Based Grain Filler Using an Epoxy Fill A Note on Sanding Technique Finish Application Equipment Set Up and Technique Spraying Pattern and Schedule Sanding and Buffing

6 19.5. French Polishing Assembling the Neck and Body Bridge, Saddle and Nut The Bridge: Requirements Construction of a Contemporary Bridge for a Classical Guitar Gluing on a Classical Guitar Bridge Construction of a Contemporary Bridge for a Steel String Guitar Gluing on a Steel String Guitar Bridge Routing a Saddle Slot with the Bridge Attached Final Detailing Of the Bridge Fitting the Tuners, Nut and Saddle Tuner Requirements Fitting Sealed Tuners on a Steel String Guitar Fitting Slot Head Tuners on a Classical Guitar Fitting Planetary Pegs on a Neo-Classical Guitar The Nut The Nut Blank Machining the Compensated Nut Fitting the Nut The Saddle Making the Saddle Compensating the Saddle Compensating a Conventional Saddle Adjustments Final String Set Up Trouble Shooting the String Set Up Rattles Only On Open Strings Rattles That Persist Over Most of the Fret Board Rattles on Particular Frets Rattles on a Range of Lower Frets Fret Dressing Removing Frets Rattles on a Classical Guitar D (4 th ) String Buzz on the 4 th String of a Classical Guitar Deadness on a Classical Guitar G (3 rd ) String Trimming Body Resonances Adjusting the Top Main Resonance Using Side Masses By Adjusting the Back Resonant Frequency By Adjusting the Cavity Resonant Frequency By Adding Mass to or Removing Mass from the Top Adjusting the Cavity Resonance Adjusting the Back Resonance Other Annoying Resonances An Example