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Author:  crazymanmichael [ Mon Mar 21, 2005 3:33 am ]
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great patch work, but my thoughts are more along the lines of mario's, i.e. worries about the structural integrity.

do you have side braces tied into the linings?

had a look at my triangular kerfed linings. in the approximate area where your sides now end the linings are about .125" thick. i know not all linings are the same dimensions, but this seems to be a situaton where because there is no support, a slight knock on the side could cause the linings to shear fracture at the edge of the side.

on a brighter note, i love your edged dots! they really set off the fingerboard. i'm going to try this on one i'm building now. and the zircote is killer; a wood i have admired but was resistant to trying because of its reputed bending difficulties. do you have any comments on your process and experience with it?

michael mcclain

Author:  Sprockett [ Mon Mar 21, 2005 5:08 am ]
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Thanks for the great responses all...

First off I'm not going to replace the top, I picked this one specifically for the show and for this body and it's staying on

To Marios point I don't think that .085" is too thick for bindings, I've used that on all my guitars and it's worked each time quite well. I guess it's a personal thing, but one thing to keep in mind is that even if you touch the kerfing your not leaving that area unsupported, your gluing in a solid piece of wood and if anything I would think that doing would make the area stronger. I can certainly hear a tap tone difference when the bindings glued on and don't finish voicing the top until that is done.

After Mario's message last night I went out and checked and there is plenty of kerfing left both on the body and on the top, the piece that popped out was cut to let in the brace (I tuck mine) and I was able to check directly .

I'm ordering the shell today and am going to give the inlay a try, the worst that can happen is that I fail and replace the top

I'm even considering making a purfling cutter and doing this one by hand just to say I can do it (Josh got me thinking about that) :)

I'll post some pics when I have the top done, I'm going to finish the back and the end graft tonight and start carving the neck and then I can concentrate on fixing that stupid mistake.

Carlton, no that's all ebony for this one. It was something new I was trying, I'll post some pics later of the headstock, it has the same thin purfling in it as well.

Thanks All...


Author:  npalen [ Mon Mar 21, 2005 7:56 am ]
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I've noticed on one of the Benedetto archtops in Bob's book a neat little inlay in the body side right next to the neck heel. It looks nice but I'd bet it was to cover up a little "problem". It looks like a little leaf growing out the side of the heel.
Maybe the neck wood was starting to sprout!   

Author:  John How [ Mon Mar 21, 2005 8:06 am ]
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Here is my last major coverup.
John How38432.672037037

Author:  Sprockett [ Mon Mar 21, 2005 8:21 am ]
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John that is just Tre-Cool...

One of these days I gotta drive up and visit your shop, your only about 100 miles from me which nothing for me

Nelson, I'll pull out that book and look again, his work in there so good it's almost scary. Once I get past healdsburg I have two classicals a customer wants and then I'm doing an archtop... It's been on my list for a while now...


Author:  npalen [ Mon Mar 21, 2005 8:53 am ]
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John--That is simply cool from Cool!

Author:  Brad Goodman [ Mon Mar 21, 2005 2:44 pm ]
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One time I forgot to tighten the collet on the router and the bit went into the side too far. It was the first brazilian rosewood guitar I ever built! The only thing I could think of to fix it was to make a "45" style guitar-abalone bordering the back, sides and top. I would have never atempted this had I not made the mistake.

Author:  Kelby [ Mon Mar 21, 2005 3:44 pm ]
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Apart from an inlay, you might try marquetry. My own view is that shell material on the soundboard gets gaudy very quickly, and particularly inlay beyond a straightforward rosette/purfling. But a subtle marquetry out of lightly contrasting woods might make for a nice, delicate touch. How about a small leaf out of maple and cherry? Or, if you want something that stands out more, walnut and oak is a nice combination.

In terms of the possibility of "just leaving it," take my view with a greain of salt because, as a pure hobbyist, I probably see things different than someone trying to earn a profit (or even break even) at this. But for what it's worth, here's the standard I apply when I'm thinking about "just leaving it:" I will never regret it if I take the necessary steps to make it right (even if that means replacing it), but if I don't I will always wish I had.

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