Notes and observations

I found a little time today to make some progress on my lattice bracing experiment. Here is a tenor ukulele top with the lattice bracing installed. The Adirondack spruce top is 1.5mm thick. The bracing is German spruce, 3mm wide by 5mm high on 40mm centers. I used a small foam roller to apply glue to the bottom of the lattice, placed it in the correct position on the top, and applied pressure using several Klemsia clamps through a small sheet of 1/2" plywood over a 1/8" thick sheet of rubber until the glue dried. When dry, i cut the scallops.

It'll be interesting to see what it sounds like. This top is going on a 14 fret long scale tenor with koa back and sides. Stay tuned !

I have instruments for Gary, Shawn, Erme, Hirohiko and Wayne in progress this month, plus a couple of experiments with lattice bracing on a tenor ukulele and a classical guitar.

While cutting braces and other parts for the next few ukuleles and classical guitars i decided to cut some bracing for a lattice top.

Lattice tops have been getting quiet a buzz going ever since the Australian luther Greg Smallman (iirc) started using this bracing technique on his classical guitars some years ago. Being a traditionalist at heart and someone who feels there is plenty of room for learning and development exploring the older Spanish methods of fan bracing, i've always looked a bit askance at those who wandered off the beaten path to chase the latest buzz before mastering the traditional methods.

After all, even though the fan braced designs have been around for several centuries and many builder's have struggled to understand their inner secrets, you can count the number of living people in the world who know enough about fan bracing and graduation that they can predict the effect on tone and character of any variation on the theme on one hand, or maybe two, and they are probably all over 60. After all, a fine stringed instrument isn't a static thing, it evolves over time ... interacting and adapting to the way it is played, its environment, stress and fatigue of the materials and so on and so forth, and a lot of the judgements a builder makes when bracing a top are with one eye to how it will evolve over time. It always seemed to me that a builder was more likely to make progress building on the work and experience of the many builders who have worked with the traditional methods.

Having said all that, and stuck my neck out perhaps a bit further than is comfortable in public, i have heard a few lattice braced classical guitars recently that interested me enough to want to experiment. For example, here is a sweet sounding lattice braced guitar by the Australian luthier Ashley Sanders. I haven't decided whether to try a lattice braced tenor or baritone ukulele or a classical guitar, but i have decided to build something and see where it goes. Maybe i'll try one of each.


Stay tuned ...

A little while later, i have some lattice bracing. It must be the arrival of spring and the thought of some nice sweet peas growing on a trellis that got me started on this.



The bracing is cut from an old European spruce top i had lying around. The lattice pieces are approx. 3mm x 5mm on a 40mm grid. Though i am guessing, this is probably a happy compromise between what I'd use on a classical guitar and what i'd use on a tenor or baritone ukulele. The bracing strips are made using a method similiar to that used for making kerfing, using a registration pin and a step and repeat procedure on a table saw with a sliding table.

Lattice bracing, like other bracing styles, attempts to distribute the compliance and stiffness of the top in a way that produces a musical result. A section of lattice bracing shown here will be cut out to the general outline of the lower soundboard less the linings, glued to the soundboard, and then the parts of the lattice near the edges of the instrument will be scalloped with a chisel to provide a stiff and lightweight top with good compliance around the periphery. The soundboard to which the lattice bracing is glued is generally thinner than a fan braced soundboard. The builder aims for a thickness that would be appropriate in the periphery and relies on the lattice to create strength elsewhere. Judgements regarding appropriate thickness of the soundboard and the design of the lattice are ultimately the result of experience with the method and the builder's goals. In this method, i'm guessing the shape of the scallop cut into the braces in the periphery is critical to tone.

Here is a quick photo of a concert i finished towards the end of last year and had to ship before i had a chance to do a complete photo set. Its in the general style of Leo Nunes and constructed of Honduras mahogany with rosewood and maple rope purfling, ebony binding, ebony fingerboard with ivory position markers, an ebony pin bridge with ebony pins, and a bone nut and saddle. It's fitted with peghed™ geared tuning pegs, finished in a gloss lacquer finish, and strung with Worth strings.

Here are a couple of shots of a pineapple tenor i finished a few months ago and have had hanging near the bench to give the mahogany body a chance to darken and to evaluate its tonal development. Its the first pineapple i've made. I didn't have a real pineapple for a prop during the photo shoot, but i did have some fruit and veggies ... and again the spring flowers are fresh from the garden.

With a standard tenor scale and 15 frets to the body, this ukulele features an ebony fingerboard with ivory position markers, ebony faceplate, ebony pin bridge, ebony body bindings, ebony nut and boxwood saddle. It has a decorative wood banding style rosette, is finished in a hand rubbed gloss lacquer, fitted with Gotoh deluxe friction tuners and strung with Worth strings. It has a mellow, warm ringing tone with good sustain, loudness and projection.

Here are some photos of a soprano ukulele in the general style of L. Nunes i finished recently. Its Honduras mahogany with an ebony fingerboard, ebony bindings, decorative wood banding style rosette, a bone nut and saddle and an ebony pin bridge with ebony pins. It is fitted with Peghed™ geared tuning pegs, finished in handrubbed gloss lacquer and strung with Worth fluorocarbon strings.

Its spring in Austin now. Its 76 and blue ... and the flowers are fresh from the garden.

Here are some photos of a classical guitar i finished recently. It features a western red cedar soundboard, Indian rosewood back and sides, a mahogany neck, mahogany binding, an ebony fingerboard, and a waxed rosewood bridge. This guitar is fitted with Gilbert tuners, finished in lacquer and strung with D'Addario J45 strings.

It has a big, open, dark, clear and slightly wistful tone with good sustain, balance, volume and intonation. If i was a cinematographer and had to conjure up a scene that the tone of this instrument invokes, i would find myself in Paris in early autumn, dusk falling, leaves rustling in the street, cafes beginning to open for the evening. Something expectant, something wistful.

I think it was the Spanish builders Jose Ramirez and Ignacio Fleta who popularized the use of cedar instead of spruce for soundboards. The bracing pattern and graduation techique i've been using recently seems to be yielding some nice results. Its a 7 fan strut system with a thin cypress bridge pad that extends almost to the edges of the lower bout, similiar to the one used by Manuel Reyes. I'm also using a 3rd diagonal cross brace similiar to the method adopted by Fleta.

Here are some quick photos of a deep body 6 string baritone ukulele i finished recently. It features Indian rosewood back and sides, an Adirondack spruce top, curly koa binding, an abalone rosette, top and side purfling and a venetian style cutaway. The mahogany neck has a slotted headstock, Gilbert tuners and a 20" scale radiused ebony fingerboard with MOP crown inlays. The ebony pin bridge is fitted with RMC Acoustic Gold polyphonic saddles. The instrument is finished in a hand rubbed lacquer finish and strung with D'Addario EJ52 normal tension strings. This baritone has a big, open and resonant tone with good sustain and articulation. Its sweet.

Here are some quick photos of a 14 fret long scale tenor ukulele i finished recently. It features curly koa top, back and sides, a Spanish cedar neck, an ebony fingerboard, faceplate, backplate and tie style bridge, bone nut and saddle, curly koa bindings, a marquetry banding style rosette and a slotted headstock. It is fitted with Gilbert tuners, strung with Worth fluorocarbon strings and finished in a hand rubbed gloss laquer finish. It has a bright and resonant voice.

Here is a photo of another custom claro tenor i finished recently. I think i have one set of this beautiful California walnut left and when it is gone i don't think i'll be able to replace it. Paired with an Adirondack spruce top, claro makes for an unusual instrument which combines one of the rarest woods of the North American west coast with a legendary spruce from our east coast. The East-West theme reminds me a little of the 1966 Butterfield Blues Band album of the same name, their second and one of my favorite Chicago blues albums of that era.

This tenor features curly California claro back and sides, an Adirondack spruce top, a 14 fret long scale Spanish cedar neck with a radiused ebony fingerboard, curly maple fingerboard and body bindings, a marquetry banding style rosette, a slotted headstock, an ebony faceplate and tie style bridge, ivory fingerboard markers and a bone nut and saddle. It is fitted with Gilbert tuners and a Mi-Si Acoustic Trio battery free preamp with a LR Baggs pickup. Its finished in handrubbed gloss lacquer and strung with Savarez strings. It has an articulate and nuanced voice.

At the request of a reader, here are some more photos of the California claro and Adirondack spruce 14 fret long scale tenor ukulele i have for sale. It features a radiused ebony fingerboard with ivory position markers, a marquetry banding style rosette, an ebony faceplate with a MOP crown inlay, an ebony tie style bridge, Spanish cedar neck, curly maple body and fingerboard bindings, curly maple back dart, a bone nut and saddle, PegHed™ geared tuning pegs, Worth fluorocarbon strings and a gloss lacquer finish.

Thanks for the click !

Here are some photos of four ukuleles i finished recently. You'll see a 14 fret long scale tenor in koa, a 14 fret long scale tenor in California claro and Adirondack spruce, a 14 fret long scale concert in koa and a prototype of a pineapple superconcert in Honduras mahogany.

The koa tenor features curly maple binding, an ebony fingerboard with MOP markers, an ebony pin bridge, a slotted headstock with an ebony faceplate and Gilbert tuners, a marquetry banding style rosette, a Mi-Si Acoustic Trio™ pickup, Worth fluorocarbon strings and a gloss lacquer finish. It's on its way to Illinois soon.

The claro and spruce tenor features curly maple binding, a radiused ebony fingerboard bound in curly maple with ivory markers, a Spanish cedar neck, PegHed™ tuners, a marquetry banding style rosette, a curly maple inset in the back, a tie style ebony bridge, Worth fluorocarbon strings and a gloss lacquer finish. It's available from stock for $2150 with a Pro-Tek case. Shipping is extra.

The koa concert features ebony binding, a paua abalone rosette, a radiused ebony fingerboard bound in ebony with MOP snowflake and crown markers, an ebony pin bridge, an ebony faceplate, Gotoh UK700 tuners, a Mi-Si Acoustic Trio™ pickup, Worth fluorocarbon strings and a gloss lacquer finish. It's on its way to California soon.

The pineapple features a standard scale tenor neck on a concert sized body, a 15 fret ebony fingerboard with ivory markers, an ebony pin bridge, an ebony faceplate, Gotoh deluxe friction tuners, Worth fluorocarbon strings and a gloss lacquer finish. This is the first pineapple i've built and is a prototype for a possible future product. It has a big, warm and sweet tone. It's available from stock for $1750 with a hardshell case. Shipping is extra.

Ok, i think i need to go find my camera, tripod, background paper and stands, light stands, lights, Lee filters, extension cords and all that and take some photos this afternoon !

Stay tuned and thanks for the click.

I have two spots left on my 2010 build list. Don't delay, act today !

Henry's Gilberts arrived yesterday (those folks are quick and their products are great) and i'm putting his tenor together today. The koa is a colorful select curly koa from the Big Island and reminds me of one of the sunsets i used to enjoy watching in the evening from Lahaina harbor on Maui.

I'm also fretting Warren's concert and carving the neck today. Tomorrow it'll be ready for french polishing.

I screwed up on Steve's tenor. He originally spec'd PegHeds then updated the build sheet to Gilberts later. I missed the change when reviewing our correspondence before beginning the build ... so i may have a very nice California claro/Adirondack spruce tenor with pegheds available unexpectedly. I'm hoping to hear from Steve soon if he'd like me to fast track a new one for him or whether he will accept this one.

The koa on Brett's concert has acquired a beautiful golden patina while hanging next to the bench over the last few weeks. I'm expecting the tuners to arrive Monday then i'll get on it ! Its nice to watch the changes in color these instruments go thru as they hang waiting my attention.

I've been playing the proto mahogany pineapple on and off these last few weeks. It has developed a rich, full bodied tone ! I originally feared that the scale length was a bit long for the body (placing the bridge too near the tail block), but it worked out very well. I'm pleased. It looks a bit funky with the mahogany pineapple body, Nunes radio tenor style headstock, long tenor neck and friction tuners, but its sweet.

I'll be building two or three smaller pattern steel stringed acoustic guitars in 2010. Check back later for developments if you play or collect boutique acoustic steel string guitars.

Stay tuned !

Here are a few photos of two new solid body tenors. The first is a 6 string 15 fret/body long scale tenor tuned like a terz guitar. It features RMC Acoustic Gold saddles, a one piece thru-body neck with graphite composite structural reinforcement, a radiused ebony fingerboard with crown inlays in all positions, an ebony pin bridge with ebony pins, Gotoh open back geared tuners and a lacquer finish.

The second is a 4 string 15 fret/body long scale tenor using traditional low G tuning. It features RMC Acoustic Gold saddles, a one piece thru-body neck with graphite composite structural reinforcement, an ebony fingerboard with 3 crowns at the 12th position, an ebony pin bridge with ebony pins, Gotoh open back geared tuners and a lacquer finish.

Both feature Honduras mahogany bodies and necks.

In use, output from the individual RMC saddles is taken from an 8 pin DIN connector mounted near the tail strap button to a remote polyphonic preamp like the RMC PolyDrive-II and onward to signal discriminators and MIDI equipment.

[Note: i'm still working on color balance issues in my photos. I think they are getting better than they used to be but i've still got a way to go. I'm considering buying an ExpoDisk to solve the problem. ]