Post
by kennyk » Mon Jul 15, 2013 11:23 pm
I'd like to be able to pursue it as a business, but I'm aware of how difficult it is to sell hand-made guitars at the moment, not least by some unknown maker. If it could pay for itself in the short term I'd be happy with that. Currently I'm trying to sort out somewhere to build some more... a shed of sorts is looking like a good option, but until work (as in my other part time job) picks up it's a struggle to afford to do anything. so it's on hold right now. weather permitting I've got a black and decker workmate and a patio that I can work on.
I'm pretty pleased with it; soundwise it's got a very big sound with a warm bassy low end but also a nice bright smooth treble; those who know the effects of different tonewoods will recognise the characteristics of Maple back and sides on a guitar. I did manage to get a recording of it at the end of year concert; ( a professional musician comes every year and showcases all the instruments in a concert setting. ) but only because I blagged some nice mics, a protools rig and a macbook pro from some contacts!
Top marks to Stratmangler for spotting that it's a OOO style. with a 12 fret body join on a 645mm scale it brings the bridge further down towards the middle of the lower bout which also has certain characteristics. Its based on plans from US luthiery supplier site Stew-Mac (who also supply complete kits) but pretty much everything was done from unshaped timbers.
the front, back and sides were supplied in boards at around 5mm thick, and had to be brought to thickness with planes and scrapers, back and front joined, braces made and shaped, sides bent on a bending iron etc. the neck was a mahogany plank from which the headstock was cut and re-joined to give a 14degree back angle. the heel was glued together from bits of neck timber as well. Linings were profiled and kerfed. I bought rosewood bindings with the purflings attached and also the herringbone strip, but the front and back purflings were put together by me. All the fret slots were cut by hand too. which is a nuisance job when using nothing more than a rule, scalpel, tenon saw and a try-square; so no mitre blocks! Neck was fitted using a compound dovetail to adjust for correct angles, which is perhaps one of the most satisfying jobs to complete.
The build was free-hand as well, so no moulds to help! There's still a few bits where I feel I've not done as well as I'd have liked; little bits where the bindings are gappy, but for guitar no2, it's a massive improvement on no 1!