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Joe...Your documentation of this build is great and I'm really enjoying watching the progress.

A ladder-braced guitar is on my "to do" list. As Dave White mentioned elsewhere, "Johnny Cool" AKA John How from Cool, CA has dedicated the past few years to this style and is a good resource if you're interested in searching some OLF archives.

On your conjecture regarding a seam strip for the top... I would maintain that a significant portion of that seam is already reinforced by bracing, bridge plate and blocks. Some folks install cross-grained diamonds in areas to add more protection as well. Since most of the sound comes from the top, it's just another compromise that puts it closer to the fine tone/implosion line that we all seek.

Thanks for your comments JJ, I do appreciate your feedback.


I think a shapely guitar rim is truly a beautiful sculptural shape!


Now I meant to drop the end block below the kerfing, to free up the soundboard like Hugh has been doing, but I forgot when I was joining my sides. So I cut a bevel later with the jigsaw so the end block is only as wide as the kerfing where it glues to the top, so hopefully this will accomplish the same thing.

I sanded the top and back radius into the sides and kerfing and now I'm ready to attach the top. Seems like I do this differently everytime, trying different methods, but this time it seemed to make sense to me that if we are using a radius dish to arch our plates and shape the sides to fit, that it only makes sense to use the radius dish for clamping up to preserve the arch. So I first did a dry run on the go-bar deck, but wasn't pleased. I believe I've seen it done that way, but for me it felt like I couldn't get the pressure right and was afraid of dinging the kerfing on the back.

So this is what I came up with.




This seemed to work well and let me dial in the pressure as necessary.




I got good glue squeeze-out, inside and out.

So, I was very pleased with the way this worked. Then I was reading thru Dave White's build, and I see he closes up his box by simply using binding tape. So there is no end to creative solutions, it's just finding the method that works for you in your particular situation.

Thanks for watching,
Joe

Joe, great build you got going here. I see your using some good outside of the box idea's too. Like bevelling the tail block down to the kerfing line. Your documentation process is top notch.

Garry

Joe, you clamp the same way I do, grab what is available to your arm reach...He...He!
Looking good, and I see the tailblock section looking good. Joe just a little trick if you clamp a 90 deg block to your work board then clamp the kneck to that you will keep the kneck totaly at right angle to the top's surface. This helps keep things square while drying.

Love your work and this is going to be a great guitar!

Thxs
Hugh

Thanks for the comments Garry and Hugh!

Now Hugh, you're zeroing in on part of my confusion with the neck angle/body joint. I have seen people using the right angle block to keep the neck block square when building on a board, but if you have shaped you top and bracing on a radius dish you're top to neck block is not going to be 90 degrees right? Or am I missing something? I've also seen some mention trying to build the upper bout flat while having a radius in the lower bout. It all gets rather confusing, and I find myself struggling through. Although so far, keeping my fingers crossed, I come out the other side okay!

Joe

Joe with true classical guitars, most people set the neck angle into the build while gluing!
This has been done by adding shims under the neck at the nut causing the neck to pitch back a tad while clamped to a work board, this helps the top to move upwards to make a nice join with the figerboard.
If you are going to attach the neck through way of dovetail/mortis join, then a square end block 90 degrees to top I would start with. You can add lift to the top where the neck's fingerboard will join the s/b top by setting the neck block angle into the build by pulling the neck block inwards while gluing the back on say 1 or a tad more degrees. This can be measured with a straight edge from bridge location to kneck block edge. Let's just say the angle is 2 degrees then you could build in 1 degree into the side block first while gluing, then the rest of the neck angle needed can be added to the neck making the fingerboard more flat to the top. This elimates most of the fingerboard hump seen on many builds. This will mean less sanding of top to match the fingerboard angle.

I hope this is of some help Joe.

Ask around about this some may have a better way of doing it.
Again just my opinion how I do things.

Thxs
Hugh

Hey Joe!

Just caught your very cool low-tech brace radiusing method with the ole No. 7 -

MOST cool!!

Your bracing looks very nice all around, my friend!

E

Lookin' great Joe!

Your bracing is so clean, sure you want to cover it up?
I should probably take the time to polish mine out like you do, get in a hurry I guess.

I can't wait to hear this one and read your thoughts on it's performance.