You have some interesting ideas there!

It's great when you step outside of the standard ,I too have questioned the purpose of an end block .At one time the end block held a tailpiece but if there isn't one it's not needed and becomes deadweight in the middle of nowhere .thx for sharing

@chuckmorrison

6 ай бұрын

A tailpiece was never really a feature of a (decent) classical guitar, nor were strap pins. The only thing I'm concerned about is end jacks for post build installations of pickups/mics. For playing a classical guitar in the traditional sitting posture, an end jack would interfere, so the tail block isn't a good location. The outer edge of the lower bout is a better placement, which would require reinforcement anyway. I do still use end blocks in steel string acoustics for strap buttons and end jacks, however I taper the block so that it only contacts the soundboard and back the same amount as the lining does. The block is also thinner than factory built instruments.

Really cool. I don't know where you live but Norway maple has (Acer platanoides) is a weed in the Eastern US. Its great to work, A little harder than Red maple, carves great. The other European species (a. pseudoplatanus) is sometimes called English sycamore. Its white with straight fiddle back when figured. Norway maple has light figure and is more yellowish. Leyland cypress is a good substitute for Mediterranean cypress. Its a cross between Alaskan yellow cedar and Monterrey cypress. Also a weed. You'll have to deal with knots and wide growth rings, but hardness and stiffness is still good, similar to soft maple or cherry.

I’ve been wanting to try out a classical build that’s not “ historical “ your ideas are interesting

That bracing on your soundboard looks interesting.

Thank you for this. The recordings sound great and these videos are quite helpful... I am researching building my own guitar, unsatisfied with the limitations of the traditional design, mostly regarding structural integrity and playability. Classical design has been lacking in string spacing and needs more room on the fretboard outside of the 1st and 6th strings but more importantly traditional design is lacking in the mitigation of the practically inevitable NECK BOW and the SINKING in of the SOUNDBOARD where the FRETBOARD meets the SOUND HOLE as well as in between the BRIDGE and SOUND HOLE! After decades of playing and existing somewhat within the elements these things tend to happen even with finely crafted guitars. Very sad the traditional design has not made these issues easy for us to fix. The way you have been dealing with the neck attachment and bracing is rather encouraging. *Andalusian Guitars* out of Spain is now making some great innovations based on the 1929 Simplicio design. I encourage anyone to check that out. Still the Spanish way of neck attachment seems to make it way too difficult to replace the neck should it ever become necessary ; and still no truss rods in them. Well they will say that if you simply take care of the instrument then they will never need a neck replacement or adjustment; and I can convince myself of this, however I already know how difficult it is to ensure proper humidity and temperature control At All Times For Several Decades, especially if you ever want to board a plane with the instrument or play in outdoor venues in varying climates... I have long wondered why the classical design generally seems not to have innovated more with the bracing and not borrowed more from the steel strung acoustic's stronger design. It is perhaps more than a bit silly of me but I am still thinking of performing major reconstructive surgery on my guitars just on principle and because I am so dismayed by the warpage! Saw a vid of someone explaining how a sunken in original Torres that had belonged to the great Fransisco Tárrega, was hung up inside of a steam filled aquarium or something, by the transverse top bracing near the fret board and sound hole and gravity eventually put it right... I really don't know though. Thanks.

@chuckmorrison

Жыл бұрын

I certainly understand your concerns. I believe I have addressed many (most ?) of them in these videos. Regarding the bowing of necks on classical guitars. The widespread use of Cedro (Spanish Cedar) is partially to blame. It looks like mahogany but weighs considerably less. It's nice to have a well balanced (physically) instrument and lighter neck woods provide that. Unfortunately, lighter woods are generally less stiff. Oversized fret slots can add to the problem. I suggest a laminated neck with substantially denser/stiffer woods for increased stiffness and properly sized fret slots (very close to tang width). I'm not sold on the need for truss rods in nylon/carbon/gut string guitars.

@nicholasgeorge7825

Жыл бұрын

Bolt on? Its anathema but it works. At least that way you can adjust the neck angle when necessary. This would require a steel string style construction. Good Spanish cedar is stiff enough but this wood varies a lot. So.does Honduras mahogany. The best cedar I've seen was Brazilian and cut from huge rainforest trees. No knots on 16 foot slabs. Neither species is as stiff as red or sugar maple. One mm of thickness makes a big difference bc stiffness varies to the 3rd power of beam height. Also the heel curve can't be shortened as stiffness varies inversely to the third power of length.

Nice work!

For a steel string do you run the nomex to the edge and is it nomex under the bridge? Also do you bend the inner laminate /kerfing or will it conform without it

@chuckmorrison

7 ай бұрын

What I do with Nomex has varied over the years. I do not have nomex under the bridge, but I do vary what wood I use instead depending on the amount of stress the bridge takes. I do not want the top delaminating under the bridge, so I want maximum glue surface under that area. I have also gone to running a wood strip along the center joint of the top, usually balsa or cedar. I usually run the Nomex all the way to the edge, although it does make purfling a bit more challenging. I don't think there is a strength issue at the perimeter of the soundboard. When I use kerfing for lining I do it reversed, so it's the kerfed side that is glued. There is no need to bend it beyond the kerfing. Even with a fully lined side.

@ksgjlg

7 ай бұрын

@@chuckmorrison thanks for the reply. Your videos are some of the best, intelligent guitar videos I've seen. Thanks for posting them

why do you add a separate piece under the fretboard instead of just making the entire neck one piece? 9:19

@chuckmorrison

2 жыл бұрын

Check out my newest video on the neck joint. That should clear it up.

By your title, I thought I was going to see what a double top is, which I am curious. But through to the end, I am still in the dark. You wasted my time.

@chuckmorrison

6 ай бұрын

The title says that it provides a look inside the guitar, which it does. The presumption is that you already know what the term "doubletop" means. If you want to see inside a doubletop soundboard, try this video: kzread.info/dash/bejne/jG18rbBucbOul5M.html I do not provide a definition or exact instructions on building a doubletop soundboard, but it does show the interior which may be helpful. Instructions on how to build a doubletop soundboard may be found on Robbie Obrien's channel. There are several detailed videos there: www.youtube.com/@OBrienGuitars

We applaud new guitar methods. Your reasoning is faulty, especially your notions of "Chaldni" patterns, which are bogus, prima facie. You must take the next steps to determine if your new design has merit. Stop the speculation and get with real science.