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PostPosted: Thu Jul 11, 2019 10:05 pm 
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First name: John
Last Name: Parchem
City: Seattle
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This flamenco is a long time coming as this spanish cyprus set was my third guitar set I bought many years back. For this guitar I have suspended most of my knowledge on how to build a guitar and have been following Paco Chorobo online class on Robbie O'Brien's site. The course is nicely detailed and while viewing, I picked up some woodworking techniques I did not have. Sometimes watching how people are using tools is just as valuable as what is being taught in the class.

This is a very traditional guitar for me in every way, no carbon fiber! I will French polish it next week.


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PostPosted: Fri Jul 12, 2019 3:32 am 
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Looks well made, enjoy the finishing process.

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PostPosted: Fri Jul 12, 2019 11:36 am 
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Nice one John. Not looking for a live back by the look of it. Pegheds?

Dave



These users thanked the author Dave m2 for the post: dbbrantley (Tue Jul 30, 2019 9:57 pm)
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PostPosted: Fri Jul 12, 2019 12:23 pm 
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Thanks Dave, the spanish cypress is light and the back is thin. I needed to brace it to get the back high enough. I get a very strong back response when doing a doing a spectrum tap test. Yes pegs, but I will use fancy geared ones.

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PostPosted: Mon Jul 15, 2019 6:32 pm 
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Looks great John.

Been thinking about making one for a nephew, but I know very little about Flamenco guitars. Other than punchy notes with little sustain and low action so the player can produce the string buzz when they strum a certain way (I'm sure they have a name for it.) Like I said, I don't know much about it. Robbie course sounds like the way to go.

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PostPosted: Tue Jul 16, 2019 7:35 am 
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Tnx for posting john, am also building a FL based on the barbero plan from GAL. using a local exotic, birds eye willow wood. Will you be posting a sound clip in the future ??? tnx ernie. PS looks like a very nice FL. gtr.


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PostPosted: Thu Jul 18, 2019 9:04 am 
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What pegs are you going to use?
A close up of the top purfling would be nice-looks great in the pics.

Strings?
I use either Hannabach Flamencos or Labella 820

mike

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PostPosted: Thu Jul 18, 2019 9:41 am 
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Thanks Joe and Ernie,

I will post a sound clip, I have a spanish guitar friend who was trained as a flamenco player. Joe I did find the course useful; I have build a number of traditional classical guitars so I could have probably just built from plans, but I don't really have a feel for a flamenco guitar. I feared that no matter what the plans say I would be pushing toward a classical sound. Hearing the commentary during the top selection, thicknessing and top voicing and how and why to use tentallones may be helping me get a some clue.

Thanks Mike, Especially for the string recommendation. I have a set of Wittner Flamenco Finetune-Pegs that I plan to use. Here is a picture of the purfling scheme. It was just black-red-black, I wanted it to tie in the rosette and be simple.

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These users thanked the author johnparchem for the post: Ernie Kleinman (Fri Jul 19, 2019 7:00 am)
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PostPosted: Fri Jul 19, 2019 8:10 am 
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did you make that purfling?
Or is it from a supply source-like Gurian?

Looks great.
Can't wait to hear it.
NOW -did you name this guitar?
Many "Flamencos" are given a name.

Mike

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PostPosted: Fri Jul 19, 2019 9:42 am 
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Mike Collins wrote:
did you make that purfling?
Or is it from a supply source-like Gurian?

Looks great.
Can't wait to hear it.
NOW -did you name this guitar?
Many "Flamencos" are given a name.

Mike

Mike thank for your interest and comments!

I used strips I bought from LMI, so most likely Gurian. I ran each strip once between a block with sand paper and my bench to get it to fit just right in the channel I cut. The shell is zipflex.

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Now I need to come up with a name. I guess I will have to hear it first.

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PostPosted: Sat Jul 20, 2019 1:43 pm 
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Hi John,
I am just about to french polish a Classical I've built(birdseye maple and Cedar top) and was wondering if you could give your thoughts/techniques on polishing around the bridge.
I am mostly a nitro guy, but the one classical that I built many years ago , I glued the bridge on after the french polish-masking the top.


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PostPosted: Sat Jul 20, 2019 7:11 pm 
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Joined: Mon Aug 23, 2010 11:42 pm
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First name: John
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Status: Amateur
Brad Goodman wrote:
Hi John,
I am just about to french polish a Classical I've built(birdseye maple and Cedar top) and was wondering if you could give your thoughts/techniques on polishing around the bridge.
I am mostly a nitro guy, but the one classical that I built many years ago , I glued the bridge on after the french polish-masking the top.


Brad, I think my picture is misleading I have not yet glued on the bridge, it is just pinned. I know there are some who French polish around the bridge, I mask, french polish and after a week or so glue on the bridge. I know some who finish with the bridge on, but I can never adequately blend in the areas around the bridge.

I finished the French Polish today.

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PostPosted: Sat Jul 20, 2019 9:45 pm 
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johnparchem wrote:
Brad Goodman wrote:
Hi John,
I am just about to french polish a Classical I've built(birdseye maple and Cedar top) and was wondering if you could give your thoughts/techniques on polishing around the bridge.
I am mostly a nitro guy, but the one classical that I built many years ago , I glued the bridge on after the french polish-masking the top.


Brad, I think my picture is misleading I have not yet glued on the bridge, it is just pinned. I know there are some who French polish around the bridge, I mask, french polish and after a week or so glue on the bridge. I know some who finish with the bridge on, but I can never adequately blend in the areas around the bridge.

I finished the French Polish today.



Aha... Thanks

I knew some people did it with the bridge on.

It's hard enough to get around the heel/body juncture for me.


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