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Chalk-fitting Guitar Braces

Chalk-fitting Guitar Braces

by Stephen Marchione

from his 2017 GAL Convention workshop

Originally published in American Lutherie #140, 2020



First, have a plan. Know what you’re making. It seems like an obvious thing, but sometimes people start a guitar without a good idea of what the brace layout will be. When I design a new model, I’ll often get a piece of aluminum flashing and lay out a bracing template. If you’re building an historical model, you can transfer the blueprint to a template of aluminum or plexiglas. This gives you a clear idea of what your braces are supposed to be doing, and it lets you be sure that the braces end up where they were designed to go. Photo 1 is a closeup of one of my bracing templates. I use the little holes to make pencil marks on the soundboard.

On a classical guitar, a lot of builders push the big harmonic bars down into the solera, or dished workboard. But that can cause distortion of the top. Even on a Spanish guitar, I take the time to chalk-fit the brace. That gives a better structure with less stress. I highly recommend it.

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Evolving the Dished Workboard

Evolving the Dished Workboard

by John Calkin

Originally published in American Lutherie #65, 2001 and Big Red Book of American Lutherie, Volume Six, 2013



For my money, the dished workboard is one of the most important lutherie inventions ever, making it possible for even rookies to build guitars that are precisely and tightly put together. I’d like to suggest ways to make them more useful. First, though, let’s make it clear what the heck we’re talking about.

Guitars were initially built with flat tops. Classical guitars (and not a few steel strings) were built on a flat workboard that more resembled a tabletop than a piece of movable gear, since it was the size of the entire instrument, neck included. The construction method using the Spanish foot required this size, since the neck became a structural part of the body. Mechanical joints such as the dovetail or bolts freed the luthier to build the body and neck as separate units, and the workboard was reduced to a laminated rectangle the size of the body, and was often dispensed with altogether when the body was built inside a mold.

In 1975 David Russell Young published The Steel String Guitar, the first guitar construction book recommending domed tops. Young, however, made no mention of the dished workboard, but used more primitive methods to achieve the domed top. It wasn’t until the late ’80s that the spherically domed guitar top began to catch on. (Forgive me if I simply call them SDTs.) The easiest way to build SDTs was on top of a spherically dished workboard, which came on the market about that time. (Let’s not call them SDWs; I’ll explain why in a bit.) The merits of SDTs are not at all obvious to musicians, nor are all luthiers convinced that they are the way to go, but an important thing happened here. Guitar backs have always been arched, and fitting an arched back to a set of bent sides equipped with lining and end blocks has always been one of the bugaboos of lutherie. It’s not easy to do in a professional manner. But with one simple step, it became possible to fit perfectly arched braces to a perfectly arched back, and then to fit the entire assembly to perfectly shaped ribs.

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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 10Ă—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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Banjo Fifth Peg Press

Banjo Fifth Peg Press

by John M. Colombini

Originally published as Guild of American Luthiers Data Sheet #207, 1982 and Lutherie Tools, 1990

 

Procedure:
â–¶ Make a bushing from a 3/4"Ă—3/8" piece of steel or brass round by drilling a 7/32" hole and countersinking one end.
â–¶ Round off the bottom of a 4" C clamp screw so it seats in teh countersunk hole in the bushing centering the clamp.
â–¶ Cut a hardwood block 2"Ă—1 5/8"Ă—1 5/8" cutout to fit the banjo neck. I use a contour gauge or my actual size templet.
â–¶ Apply 1/16" piece of leather to the cutout using contact cement. The drawing should explain the usage.

The important part is to be sure the bushing is longer than the shaft of the tuning peg. Add spacers between the bushing and the peg shaft if you should come across a longer shaft or make a slightly longer bushing. â—†

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Letter: Vacuum Clamp

Letter: Vacuum Clamp

by David Haxton

Originally published in American Lutherie #67, 2001

 

GAL:

I share Jon Calkin’s enthusiasm for the dished workboard (see AL#65). I know it’s made my guitars better. But he could trade all his clamps and dedicated workstations for a much simpler and, I would say better, solution: the use of a vacuum pump. You get absolutely even clamping pressure across the entire face of the plate and no dents from over-tightened clamps. In fact, I preshape and sand all my braces before gluing, lessening the need for chisel work after glue-up, and the whole procedure is quicker. I’ve also used my vacuum pump to make radiused sanding blocks for fretwork and laminated linings, and they make great hold-downs. My pump came from a mail-order surplus supply company for about $80.