Monday, February 9, 2015

Batch Work


Most guitar makers build in batches. Making the same part for various guitars is more efficient and a good way of practicing your technique and refining it. Right now I am working on parts for 6 guitars. I cut up all the wood and then join, profile, scrape, plane, glue and carve it, for parts such as the top, back, sides, braces, rosette, binding, purfling, neck, heel, headstock, end blocks, glue blocks and linings. When all that is prepared I start construction of the guitars and finally I break up the 6 guitars into batches of 2 and do the binding, fretboard, fretting, neck carving, bridge and finishing.














Aside from this I am also currently working on 2 new models. One is based on a plantilla of the Madrid School of Domingo Esteso and Santos Hernandez and the other on the Torres 1864 FE-17. For these I have to make new soleras, templates and moulds.


Friday, December 12, 2014

Repair: Herman Vazquez Rubio with intonation problem

I got this GVR Hauser model with a great sound and beautiful Brazilian rosewood back and sides but with bad intonation. The owner suspected the fret positions and I corroborated that with calipers. The scale length is 655 mm.



I did a re-fret and did the slotting all over again. First I fill all the slots except the 12th which will become my indexing fret (since the saddle was in a correct position).


I made a template with 1/4" MDF and put it next to the fingerboard making the 12th fret line up perfectly. I used the saw with the red handle as an indexer.


Here you can see how off some of the frets were.



Here is how I cut the slots.


I also made the new nut with compensation and a shim on the back to fill in the gap caused by moving it closer to the 1st fret.  I think that a nut thicker than 3/16" looks wrong.


I made a saddle with individual string compensation,


and installed new Rubner tuners since the Schallers were a little stiff.



The owner was pleased with the result:


Hi Luis, I picked up the guitar today and after playing, I'm completely satisfied with the work and couldn't be happier.  Thank you so much for fixing my guitar, the intonation and fret work is amazing, the saddle, nut, and tuners are perfect.  You do beautiful work my friend! 

Friday, November 28, 2014

Videos: Miguelito and Ricardo Marlow play latest flamenco guitars

The Washington DC area has a good share of professional flamenco players. They frequently gig at La Tasca in Old Town Alexandria, so they're always a few blocks from my shop and gladly stopped by when I told them I had some new flamenco guitars I had just finished.



Monday, November 17, 2014

Archive: Guitar No. 30, flamenco

Flamenco guitar made with European spruce top, Mediterranean cypress back and sides, Spanish cedar neck, Indian rosewood binding and bridge. Amber shellac finish. Sold by GSI.






Making a flamenco guitar

For me the flamenco guitar is basically the same as a concert guitar, but I strive for a couple of differences:
  • quick attack, fast decay
  • lower action
  • lighter bridge
  • lower height from top to string at bridge
  • edgier more aggressive sound
  • drier sound
  • a lighter guitar, especially the neck and head
Here are a few pictures when I was building No. 30.


the braced top...


...ready for back

binding at heelcap

fingerboard gluing

fingerboard gluing

carving the neck

refining the side to neck join

beveling the fret ends

the finished guitar

the finished guitar, top

the finished guitar, top

the head

the back

the bridge

Saturday, November 15, 2014

Archive: Guitar No. 27, flamenco (for sale)

Flamenco guitar made with European spruce top, Mediterranean cypress back and sides, Spanish cedar neck, Indian rosewood binding and bridge. Amber shellac finish.