What I did this weekend.

[Allen]

The linings are made from 3 layers of Kauri pine just because I have a large plank of it. I also made them out of Qld Maple, but tha'ts way too hard to work with for linings. You could use different colors of wood to give it a stripe for an original look.

I still need to bend them before laminating or I'll crack them in the tight bends. This only takes minutes on the Iron. I made one set out of 4 layers that were thinner and didn't need to be pre-bent, but they were just that little bit too much work. They are end up being 6.75 mm thick by 14 mm tall.

To laminate them I trim them to length and use the rim itself to laminate them. Put some sort of glue resistant paper over the rim, then glue the appropriate surfaces of the laminates, slip them into place and clamp with lots of cloths pegs etc. Once dry, remove and shape edge with round-over bit and give a bit of a sand. Now you have a perfectly fitted solid lining.

I tried to do this on a dedicated mold, but tiny differences in the shape of the bent sides, and the difference in dome from back and top made it an unsatisfactory method. These linings are very stiff and you can't coax them to fit something that doesn't have the exact same shape. They really stiffen up a side.

Certainly take more time to make, but cost next to nothing. Big plus when you live in Oz and shipping etc. just takes the joy out of buying things like this.

And I really like the look of solid linings.

[graham mcdonald]

There's a lot less work getting the braces inlet when you don't have to do the lower bout . Great tip that I think Hesh made. Makes a lot of sense too when you're trying to free up the lower bout. That's something that you don't get on any of the plans that I've seen yet.

There are two schools of thought on this (as on most aspects of instrument building). The other takes the approach the locking the end of the X brace in under the linings, even a little bit, helps in preventing the end of the X brace popping loose at sometime in the future. Certainly you want flexibility around the edges, but there are structural considerations as well. I prefer to add a couple of notches a mm or so deep in the lower bout as a bit of extra insurance.

cheers

graham

[Kim]

There are two schools of thought on this (as on most aspects of instrument building). The other takes the approach the locking the end of the X brace in under the linings, even a little bit, helps in preventing the end of the X brace popping loose at sometime in the future. cheers

graham

Graham,

I have done a reasonable amount of repair work over the years and I can say in all honest that I have only ever had to re-glue a popped brace that was not inlet when it had been left too thick on the ends and, in my opinion, anything over 1/32" is too thick.

I have found that if the brace ends are scalloped down to paper thin, they wont normally pop upon impact to the top. Instead, the thin ends will flex with the stress of an impact and act like a shock absorber if you will. I would imagine that this flexing, even minute, would considerably reduce the load on the glue joint.

On the other hand, I have had to re-glue a number of braces that were inlet into the linings. Not only is this a bear of a job, but the noise of a guitar with a loose brace buzzing in it's rebate is unbearable. A popped brace on a guitar that does not have the braces inlet remains playable, even if a little quieter in one frequency or the other.

Anyhow, to each his own.

Oh, must add, great work as always Allen

Cheers

Kim

[graham mcdonald]

I agree entirely that the lower ends of the X braces should be feathered down to a mm or so at the ends, or even to nothing by the outside of the body. I just think it is sensible to lock those ends under the linings. I was stimulated to throw in my comments as I have a friend's Maton here at the moment on which I have had to reglue one of the X braces on the lower bout. It is a well used guitar and has had some 'interesting' repair work done on it previously. Like a Western red Cedar bridge plate. Still trying to work out the logic of that one!

cheers

graham

[Allen]

Comments and critique are always welcome on my instruments.

I'm sure that I'm like most of you, in that I'm very critical of my work. I know where I see shortcomings, and hopefully the next time around I'll improve. I even point some of my mistakes...I mean features. If any of you see something that you feel you should comment on, please do. I promise that I won't go hide in a corner. There's not a day that goes by that I don't want to learn something new.

Thanks for the comment about inletting braces Graham and Kim

I find it really interesting about the different thought processes over inletting or not of the x-braces. I can see the merits of each method. My thoughts didn't even go to whether the brace may or may not come loose. It was only to free up the lower bout. I've got zero experience with instrument repair, other than trying to repair some of my building stuff ups as I go along, so I can't comment on either school of thought.

I hope that others will chime in here.

[Kim]

I agree entirely that the lower ends of the X braces should be feathered down to a mm or so at the ends, or even to nothing by the outside of the body. I just think it is sensible to lock those ends under the linings. I was stimulated to throw in my comments as I have a friend's Maton here at the moment on which I have had to reglue one of the X braces on the lower bout. It is a well used guitar and has had some 'interesting' repair work done on it previously. Like a Western red Cedar bridge plate. Still trying to work out the logic of that one!

cheers

graham

Funny you should mention the Maton Graham, I have had to do a few X brace re-glues on them in the lower bout and I think the reason they are/were susceptible is that they leave/left the ends too thick like is said above. I have seen them an 1/8" even on a double X and at the upper bot end where they were allegedly tucked into the linings, I have seen a rebated to a depth of 3/16 where the brace has been trimmed to just 1/16th"??

Anyhow, my post above was not meant to question you or your methods my friend. I seen what you can do and man you have your chops and are a very skilled craftsman who has my complete respect. I was just pointing out what I have observed in a few repair situations and my thoughts about why it was happening.

And Allen, with the quality of work your putting out mate I would not be hiding in any corners either, that's dancing on the roof top material you got going there mate and I am yet to see a short coming of any kind.

Cheers all

Kim

[Craig]

Firstly , Happy New Year everyone !

I'll quote this from one of my Piano Building text books ( Wolfenden ), regarding hot glue and braces.

" The most important thing to observe is that the ends should not be made so thin as that the moisture of the air in damp places can easily penetrate to affect the glue ; 1/8th to 3/16 in. is a usual and fairly safe thickness " end Quote

A coat of shellac (may) help thin brace ends stay put. Makes good sense to me. Pianos soundboards are coated both sides B.T.W.

Just thought this may be something some of you guys may want to consider ,especially those feathering brace ends to nothing, and using hot glue. I'm like Graham , and like that little bit of security. so, let the ends in .If the ends are down to about a mm. I can't see them hindering the sound board a whole lot.

Cheers everyone , Craig

[Allen]

Here's some more pictures to show the state of the build. I've pore filled with epoxy after the pictures were taken, and the colors of the wood really pop now.



And just to show our northern friends what a tiny bit of the tropics looks like. This is just out side the front door. The red flowers are Hibiscus. The plant is about 10 feet tall, and we have to cut it back every month. I don't know the name of the white flowers, but the same goes for it. We just had about 1 1/2 feet of rain in the last 2 days and now the sun is out. Everything grows as you watch it.





The bindings are something I got from Tim in a goody package. I don't know the name of the wood, so perhaps if he see's this he'll tell us. They are very curly grained and difficult to bend, but look great once you get them installed.

[Kim]

Allen,

Those bindings would be curly Tassie oak if i am not mistaken, looking at your guitar I see it works great as binding material.

Cheers

Kim