Bubinga Dreadnaught Guitar Build Update

This build is going along and almost ready for finish. Pictures show body completed and routed for bindings

These pictures are cutting out the end strip. Some people use only hand tools, but I need the assistance of some power tools or I would never get done.

Bubinga sides with leopardwood strip and bindings.

Taped up bindings after gluing. I use the tape since I have it and it is convenient. Below working on some problem areas that don't want to stay glued

I use a drill to plow out most of the material, and then follow up with a router and some sharp chisels for cleaning out the neck mortise.

 This neck is mahogany with an ebony fingerboard that has been waiting patiently for a body. I will probably change the white cap to leopardwood.

Almost ready for finish. I will be doing a French polish that I will keep updated.

Robert
2012

Top Braced and Glued to Sides

Finally got some time to work on the bubinga dreadnought this past week. I was able to glue the braces onto the top, carve them, and then glue the top to the sides.

Still working on technique. There are a lot of skills that can only be developed with practice. Brace size, placement, shaping, and fitting are definitely one of them. I drilled a bunch of holes in the mold so I could slip the spool clamps through them while gluing. This was much easier to line things up than the last time trying to glue the top and back on without them. Now I just need some more clamps..

The last build I used pre-made braces but this one has all handmade bracing and end blocks. The lower bout bracing probably should have been at more of an angle than 90 degrees to the cross bracing, but like I said with time and experience those things will work themselves out.

When I get back next week the back can be glued on and I can start working on bindings and purflings.

Spruce Top

Short post today, just to keep things moving

I am working on the spruce top for the bubinga dreadnaught. Still trying to get the hang of routing the rosettes without tearing up the wood. I have used a full size router for many projects in the past, but this small dremel inlay routing takes a little more patience. Here I am using the Stew-Mac circle cutting set up. Main thing is to make certain everything is set properly and tightened. This Sitka spruce top is going to have a triple ring similar to the martin D-28 style

Below gluing the main cross braces to the top after installing the rosette and cutting the soundhole out. The spruce braces are approximately 1/4" x 1" at this point. They will be worked down and scalloped for this guitar. The tape is holding a piece of cardboard on the face to protect it while it is being worked on.



Build 2 Update

Working on guitar build number 2. Number 1 turned into the Hurricane Irene model and still has issues that may never be worked out. Right now she is sitting on the bench as inspiration for number 2.

This guitar has bubinga sides and back with a leapordwood back stripe, and will have matching leaporwood bindings. I really like the look of the leapordwood, it makes a nice contrast with many woods.


Mahogany linings and installing mahogany side reinforcement strips.

The inside back center strip being installed in my make shift go bar deck

I had some old mahogany boards from a friend given to me years ago that came from salvaged pallets. They will make great braces and lining strips.



Back braces being fitted and glued.

Carving the back braces

Gluing up the sitka spruce top.

To be continued...

Seagull S6

Picked up this busted Seagull  S6 model to see if it could be repaired. The verdict is still out, since I am not sure if I will continue on or just scrap it for parts. The top was busted up pretty bad and so it was taken off completely and what remained was glued back together.

Plywood sides and back with cherry veneer. Solid cedar top.

Back was seperated as well

Inside look at LR Baggs micro eq equalizer w/volume, bass, treble controls

Jack plug end pin

Bolted neck joint. Brown plastic binding with small plastic cream purfling.

Removed all the braces from the top to salvage. There is a  plywood brace mixed with spruce braces. If continued new top will have all new replacement spruce braces.

Appears to be poplar neck block, tailblock, and linings



Some more pictures of taking apart, cleaning up, gluing back together.

That was the easy part. I picked out a cedar set that I had for the replacement top. Now to decide to continue on or not. I have done a top replacement similar to this with plywood sides and have had a hard time with the bindings and damaging finish on sides. To be continued..

Lacey Act and CITES

Is it legal?

Lately I have been reading a lot about the Lacey Act and CITES and what affect it is having on the guitar making and wood working industry. As a carpenter, life long wood worker, novice musician and luthier, I am concerned about the right to possess, purchase, or trade the basic material and instruments used in our trades to make a living and pursue our life's work.

I was introduced to CITES a few years back when buying a few orchids and came across the book "Orchid Fever" written by Eric Hansen about the billion dollar orchid industry, and the sale and transportation of endangered plant species. Very interesting reading, I did not realize at the time that I would be introduced to it again while pursuing my career and artistic craft.

The materials used to build and decorate instruments with to entertain ourselves and our families for hundreds, maybe thousands of years has become the center of current national and international laws. Granted most of the wood and other products in the center of the controversy are exotic and not typically used in every day life, but how long will it be before more and more natural resources are depleted and become rare and valuable commodities added to the list of endangered and illegal items.

How do I know where it came from?

There is some good information in a document recently posted on the Guild of  American Luthier's web page regarding the Lacey Act and CITES, and an article in the latest issue of the GAL's quarterly journal. I support the Guild and thank them for all the work done on behalf of their members.

From the Fall 2011 issue of the American Luthierie Quarterly Journal article by R.E. Brune, transcribed from his 2011 GAL Convention lecture quoted: "converting a pre-CITES set of Brazilian Rosewood into a new guitar is a violation of federal law", and "it is illegal to repair or restore old or antique pre-CITES objects such as musical instruments".

Here is the link to the GAL web site Chuck Erikson article regarding the  Lacey ACT and CITES:
http://www.luth.org/cites.htm

I do not attempt to validate or disclaim these articles, only provide the information. I understand that these issues are complicated.There are many questions regarding the way these laws are written, regulated, and potentially enforced now and in the future. If we are in violation of the law by innocently pursuing our life's work and hobbies we must be informed in order to continue working without fear or the possibility of incrimination. If the laws need to be changed it is the responsibilty of those elected to look after our well being to make those changes on our behalf.

Can I fix this?

Thank you to the GAL for providing this information, and good luck to you in all your endeavors.

"Endure Fort"

Robert