Portland Guitar Co. | Portland Oregon | Contact Jay Dickinson-503.245.3276 | email@example.com
Once I am satisfied with the brace layout I start to remove the
extraneous material in the braces. I remove material from the
middle of the braces because it makes the braces lighter without
reducing the stiffness of the braces. Ultimately this will
the guitar more responsive or punchier. Anyway I end up with
After the holes are cut out of the braces I sand the braces into slim
And here we see the result for the main lower bout back brace.
Notice the curve on the bottom of the brace. This
force the bottom into the bowl shape I have talked about before.
I have trimmed the back plate into the general shape of the guitar and
have laid out the completed brace structure for the back.
This is a picture of my go-box. ( I don't know why it is
go-box) Nonetheless this is where I glue the braces onto the
back. I use lots of stick that let me apply pressure to the
braces while the back lays in its bowl shaped form.
Next the Contra Rosette gets glued in.
A look at the Contra Rosette. At this point I date and sign
Finally glue on the back reinforcing strips and take a look at the
After shaping the top braces I lay them out to check their placement
one more time. These are perhaps the most important step in
creating the sound of the guitar. I have striven to adopt the
best of the traditional components from Martin's classic X-Brace design
and have added my own innovations. This design attempts to
optimize the compromises between the structural components of the top
braces and the acoustic components of the brace system. In general, the
brace system must be both strong and stiff to prevent the guitar from
collapsing under the tension of the strings and light and flexible so
it responds to the vibrations of the strings.
Into the go-box to glue the braces on.
Here the bridge plate is being glued down. Over time I have
variety of special cauls that help the process. Here we see a
split plate caul that covers the bridge plate. The splits
the caul to conform to the curves of the bridge plate.on
After gluing on the sound hole reinforcements ring we get a look at the
This picture shows me gluing the side reinforcement strips in place.
These strips will help hold the sides together should the
ever experience a short sharp shock. I hope we never get to
the efficacy of these strips. Love your guitar, always ...
A look at the reinforcing strips.
Before I glue the top and back on to the sides I have to drill the
holes for the neck attachment hardware. Does it
nervous when I put your guitar into my vice.
This is a look at the hardware.
Back to the heal graft. I have chosen to use a Lacewood
theme for this guitar. This will provide a sophisticated and
dramatic look to the guitar. Here I am cutting out the blank.
The end graft gets glued into its channel.
After sitting and thinking for a bit to make sure I have done
everything I need to on the inside of the guitar I glue the back on to
the sides. I use my guitar mold for this with the clamping
around the edge.
After the back is glued on I route off the excess edges.
The top gets glued on next. This is where I really have to
sure everything is finished on the inside. After I glue the
on if I need to work on the inside I have to go through the all to
small sound hole.
The excess edges get routed off the top.
A look at the back of the body.
The front of the body.
The next major step is to install the binding and purfling. To do
this I have to route out a set of channels for the binding to sit in.
I use a machine I call the universal bindalator to do this job.
This machine holds the router vertical while allowing me to move
it back and forth, up and down, in and out, round and round, while the
guitar is spun on a lazy susan and the depth of cut is controlled in
the horizontal and vertical directions.
This is what the channel looks like on the back of the guitar.
I will cut channels on both the back and top.
Here is a close up look at the router at work on the top. If I
make a mistake here I end up with some very expensive firewood.
A close up look at the channels for the top. The depth of the
channels has to be carefully controlled to accommodate the combination
of materials for the binding and purfling.
A look at the cutawy point.