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Heat Pressing Necks

Heat Pressing Necks

by Tim Olsen

Originally published in Guild of American Luthiers Data Sheet #86, 1978 and Lutherie Woods and Steel String Guitars, 1998



Heat pressing a neck to improve the playing action is a rather simple process both in theory and practice. Basically, the procedure involves heating the neck to soften the wood resins and the fretboard-to-neck glue joint. Then the neck is held in the desired position until it is thoroughly cooled and the glue and resins are hardened again. I will assume that you know what neck shape you’re shooting for, although this is a subject of much subtlety and debate.

The heat pressing setup that I used for several years consisted of one 250W Sears infrared bulb (red), a porcelain socket on a clip base, two C-clamps, several 1/4" leather pads, and the edge of my bench.

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Lemon Oil and Carnauba Wax

Lemon Oil and Carnauba Wax

by Jimmie Van

Originally published in Guild of American Luthiers Data Sheet #97, 1978 and Big Red Book of American Lutherie Volume One, 2000



In a living tree the cell walls are saturated with water and pretty much keep their shape. After a tree is cut down and the wood is processed by air drying or kiln drying, most of the water is removed. The wood can shrink up to 20%. This wood is now like a sponge and even a finish like lacquer, varnish, or shellac only slows the rate of moisture absorption or loss. Thus, over time, the cells lose part of their ability to remain at or return to the size that you had originally intended. We see the results in swelling, shrinking, and cracking. Using pure lemon oil as a cleaner and carnauba wax as a sealer can further protect woods and slow down the changes on finished instruments.

It is important to start with lemon oil that you know is pure. Most products sold as lemon oil contain considerable amounts of petroleum distillates and synthetics. Avoid these. You may be able to locate lemon oil through an essential oils store or a store carrying natural products (if it’s food quality, it’s probably the right stuff). First I make sure that the surface of the guitar or other wood instrument is free of old wax by using a mild wax remover. (The lemon oil will dissolve previous coats of carnauba wax.) I keep a soft, oil-moistened cloth in a sealable glass jar to keep it from evaporating between instruments. With this cloth I spread a coat of lemon oil over the entire instrument, letting it stand for fifteen to forty-five minutes or until most of the oil has been absorbed. Wipe any remaining oil off after this time as the wood will only take in what it needs. Pure lemon oil will not harm acetate or celluloid, but it can damage styrene. This can be a problem on some cheap instruments. Although pure lemon oil does not harm most finishes, I recommend caution, especially around stains. Lemon oil is also good for removing rosin buildup on violins, cleaning strings, and bringing up the sheen of finished or unfinished mother-of-pearl.

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Nuts and Bolts for Bridge Gluing

Nuts and Bolts for Bridge Gluing

by Tim Olsen

Originally published in Guild of American Luthiers Data Sheet #126, 1979 and Lutherie Woods and Steel String Guitars, 1998

 

The holes of a pin-style bridge provide a golden opportunity to apply some very convincing clamping pressure. I use 3 10×32 1" round-head bolts with washers, wing nuts, and pieces of drilled shoe sole leather to temporarily bolt the bridge on while gluing.

This not only exerts a strong pressure to the back edge of the bridge, but the bolts ensure an accurate alignment of the bridge. All that remains is to set a deep-throated cam clamp on each end of the bridge. The leather washers will take up any slop that the bridge might have. This is a natural for repair work as well as construction. ◆

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Battery-Powered Instrument Amplifiers

Battery-Powered Instrument Amplifiers

by Joseph Ennis

Originally published in American Lutherie #69, 2002 and Big Red Book of American Lutherie Volume Six, 2013



After reading Francis Kosheleff’s description of building speaker enclosures which resemble instrument bodies, I thought I would offer my experience of what has worked for me. I have added battery-powered amplifiers and speakers inside instrument bodies to either augment the sound of a weak instrument like a harp or mandolin, or just to act as stage monitors.

The thing left unspoken in Mr. Kosheleff’s article is that not just any speaker will work well. The speaker should be chosen to match the instrument body resonance. The first air resonance of a hollow body instrument is essentially the same as the Helmholtz resonance of a tuned speaker cabinet. The same math applies. The formula is given below.

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Calculating Soundbox Volume

Calculating Soundbox Volume

by Dave Raley

Originally published in American Lutherie #70, 2002 and Big Red Book of American Lutherie Volume Six, 2013



Want to design a new guitar shape and maintain an equal volume of enclosed air by adjusting the height of the sides? Here’s how to calculate volumes. Accuracy is a function of how long you want to spend measuring and calculating.

Consider two bodies: Figs. 1a and 2a. The body in Fig. 1 is 18" on the X axis and 4" on the Z axis. Suppose that you wish to make the body in Fig. 2 have the same volume as the body in Fig. 1 while maintaining the same X axis. Fig. 3 defines the axes regardless of the way the figures are turned.

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