lyreperch71

The following posts are section of a project that I completed in December of 2008 in which I designed and built a baritone guitar. The end result was an excellent guitar that exceeded my aesthetic targets and met my utilitarian requirements. I looked at existing styles and tried to improve the problems that I came across with the available industrial production instruments. I ensured that I reversed the grain design for each piece to attempt to create probably the most stable neck blank feasible. The fingerboard is certainly glued to the top of the neck over the truss rod and the frets are pressed in to the fingerboard.

Honduran mahogany is the wood used for Gibson guitars necks and bodies, while hard maple may be the wood typically used in Fender necks. For the neck, I chose rock maple, which unlike swamp ash, has a closed grain and will be sanded nearly as simple as a polished rock or buffed steel. The notch cut down the length of the throat for the truss rod is definitely devoted to the middle piece of maple, so that the truss rod won't disrupt the many laminations.

The shape of the neck is certainly another critical area of the design procedure that affects string tension, sustain and the feel of the instrument. The most famous woods for guitar building are rock maple (also called hard or sugar maples), mahogany (a tropical exotic hardwood native to the West Indies, Central and South America), alder, swamp/white ash (both native to North America), or rosewood and ebony (both exotic hardwoods getting hard to find). Historically guitars have used the ‘C’ or a ‘U’ form, but Fender pioneered the ‘V’ neck shape which optimizes the participant’s capability to wrap their thumb round the throat of the instrument. The ‘V’ offers been popular especially with blues and nation musicians. Body woods are often slightly less dense and softer to allow for a lighter instrument. I would optimize the scale size and string gauges to supply for a company but comfortable amount of string tension. I thought we would make the fingerboard from macassar ebony that is a figured ebony with visible grain varying from black to browns and tans. I really do not consent to my suggestions being used for commercial purposes, but I would be happy to speak to or help anyone who is thinking about building an instrument for themselves. Acoustic instruments, however, use resonating tops made of coniferous species like spruce and cedar. I ripped three pieces of really difficult maple to ¾ by 1 and 2 bits of purpleheart to ¾” by ¼” and then glued all five of the parts together as shown in Body 10. I opted to make use of swamp ash for your body because it would lessen the excess weight of the device and would still provide a tone in between the heat of mahogany and the lighting of maple. The original approach to the headstock configuration may be the angled back headstock found in all string instruments from lutes, violins and viols, along with guitars. I am reviewing my options for Patents and the look of the instrument should be considered safeguarded by the Patent Pending status. It creates playing open chords much easier and convenient and is particularly ideal for instruments with a longer scale like basses and baritones. Number 10 5-piece throat blank lamination technique with 3 1″ pieces of rock maple and 2 ¼” bits of purpleheart. Please be aware that the look of the guitar, the form of the body, the throat and the headstock are trademarks of Indecent Music. Each one of these woods provides its tonal characteristics in addition to grain type, grain physique, hardness and rigidity. This angle escalates the pressure of the strings on the string nuts and eliminates the use of a string tree to carry the string down onto the headstock as required by the Fender instruments. Swamp ash, which is extremely popular with Fender bodies, is usually a softer, lighter range compared to Northern hard ash which is harder and heavier. The original paper from the task is 40 pages very long, so I am breaking the task up into installments. Thanks so much for your curiosity!

I also utilized purpleheart in the lamination of the neck blank mostly due to the striking color, but also to tone down the lighting of the maple.

Based upon my experiences with the production models that I tried, We resolved to design an instrument that didn't fall prey to the pitfalls mentioned previously. Ash includes a natural rustic experience to it, even though sanded with 200 grit paper and it is an open-grained wood, which means the grain has deep pores that must definitely be filled in order to get yourself a smooth end. The lamination technique that I used is very similar to the style proven on the Ibanez bass above.