What do you use to hold the secondary bearing? Is it simply a nut and bolt or is it something you made? I’d appreciate any more insight into making your jig. It’s the best design I’ve seen being the best combination of simple, accurate and compact
@zekragash4294Ай бұрын
Absolutely the most dreaded and scary. I tend it put off the longest.
@youtubecommentor4480Ай бұрын
Thank you Chuck. That was very informative. In regards to the router, are you using a laminate/trimmer router with a 1/4” collet? If so, what brand do you recommend? Appreciate the help as I’m looking to purchase a small router for this procedure. Thank you.
@chuckmorrisonАй бұрын
yes, a laminate trimmer type of router is the only practical device for this unless you can find something even smaller/lighter. A dremel tool is not powerful enough and can't handle 1/4" bits. A good base is important for this kind of setup, so that eliminates most of the cheaper alternatives with plastic bases. The one I show in the video is a Bosch, and I've also used an older Rockwell. I've heard of people using Dewalts.
@youtubecommentor4480Ай бұрын
@@chuckmorrison Thank you Chuck! That was helpful!
@simbachuck16352 ай бұрын
Chuck or Kenny !!!!
@ksgjlg2 ай бұрын
I just completed a guitar using full width linings. Guitar has fewer overtones, clearer sound and less volume to the player. I also used a 1/8 back. I used mesquite for the whole build including the top.
@chuckmorrison2 ай бұрын
Interesting observation. What are you comparing it to ? Is this the first one you've used with full linings? I'd be wary of drawing conclusions from one sample.
@ksgjlg2 ай бұрын
@@chuckmorrison I agree. Part of these observations have to include the use of mesquite for the top. As to the loudness, it's similar to a resonator I built all metal. It projects so it sounds quieter to the player. Regardless I will use full width linings going forward. Thanks for your experiments
@gunnyoorah18462 ай бұрын
@gunnyoorah1846 0 seconds ago how do i weld the tang on a vintage spokeshave, like the one you have. i have no welding suff just glue ... and rubber bands? suggestions from anyone will be appreciated..
@simonshawmusic3 ай бұрын
hello, have you had success with this method and ebony purfling? thank you
@chuckmorrison3 ай бұрын
Yes, and bending ebony sides as well. I do change soaking time and pipe temperature when bending wood, either sides or binding, depending on the density and/or stiffness of the wood.
@iwokeupthismorning23 ай бұрын
super clever jig!
@rwagh3 ай бұрын
sir how to add the weight on the already built instrument ?
@chuckmorrison3 ай бұрын
To start with, use adhesive tape or the type of tape that is used to hold microphones inside acoustic guitars. Once you have tested the weight and location to get the desired frequencies, they you can use a more permanent adhesive.
@levijessegonzalez36294 ай бұрын
what about for electric guitars? is it worth getting a quartersawn neck? and secondarily, a body?
@chuckmorrison4 ай бұрын
Many electric guitar necks are slab sawn including Fender. So I doubt much value can be had debating that point. I also don't think trying to analyze grain direction on a slab of wood that is completely covered in a thick finish is very fruitful. I know there are folks that would take that challenge, but I'm not one of them.
@BobStCyr4 ай бұрын
Wouldn't it be better to hold the speaker over the bridge position as this will be the center of vibration from the strings - perhaps it doesn't make any difference but my understanding is that one of the lower resonances will be the Helmholtz resonance of the air cavity, it would seem that at that frequency the speaker could interfere with the air movement in and out of the soundhole.
@chuckmorrison4 ай бұрын
You are correct in that the lowest resonance strong resonance that shows up is the air cavity resonance. But it depends on what you're looking for. Both of the air and top resonances show up very nicely either way, but my experience is that they show stronger when driven from the sound hole. The next few top resonances show up well as well. To go beyond that it is necessary to drive the top directly. It should be noted that this is before the bridge is glued on, which does change things a bit.
@ksgjlg5 ай бұрын
I just did this on my current guitar. I put neck and heel blocks in first. Heel block on top of lining would be OK but what about the neck block? I use a bolt on neck without a tennon
@chuckmorrison5 ай бұрын
I glue the heel block directly to the lining. That allows contiguous lining around the entire body.
@theo99525 ай бұрын
Loud and resonant. Sometime ago a luthier in Athens showed me an oak guitar he had made. It was a rather small body instrument, the type we call in Greece "tavern guitar". I didn't like it's sound very much, I found it too harsh. But it was a steel string, not a nylon string guitar. I guess oak is suited much better to nylon strings.
@Hositcaos5 ай бұрын
Ciao vedo con piacere che hai studiato un pochino della fisica della chitarra classica in termini di volume dell aria , però devo dissentire su altri argomenti , in primo luogo la struttura della chitarra è elastica soggetta a dei forti cambiamenti atmosferici , quindi non è solo la lunghezza dell onda che incide , ma un insieme di fattori che dobbiamo tenere in mente la prima cosa è che ne va fatto un calcolo per litri che poi va per il collo della bottiglia , poi l elasticità della tavola e del fondo , che tu fai in maniera diversa di come va fatto tradizionalmente , da tre millimetri non lo faccio di certo , anche perché ritengo che deve interagire con la tv , quindi la completezza del dipolo, in ogni caso alcune chitarre hanno 129 hz sul colpo dato ma sul movimento interno dell aria si arriva a102hz ma non risultano avere interferenza con il sol a 196, ma perché va a204 hz , devo dire che mi è sembrato interessante il lavoro alle spalle , di certo ne ridarà alcune perdite ,ma non sono d accordo con il doppio top con il nomex , ne con il fondo troppo spesso , con questo non vuol dire che io sia in possesso della verità , bisognerebbe confrontarle in studio di registrazione , perche vedi in una sala grande la direttività dello strumento può essere tutta di fronte , e quindi dare l impressione di un maggior volume ed efficienza sonora , ma quando sei in una stanza piccola il suono diventa pari , perché in quel vecchio strumento poi ci sono le armoniche che escono da tutte le parti , di questi dati mi piacerebbe sapere la tua impressioni , ciao
@hereasafanofallsorts51646 ай бұрын
Hi Chuck - Great video - I love the way you've added the mortice Routing Template to your mould - I've never seen that before - having watched hundreds of "Experts"- Its such a great and simple Idea and must save alot of messing around with seperate jigs - I mean the Neck block is right there ready to go - Good Stuff
@chuckmorrison5 ай бұрын
Thanks. A lot of the fun of building guitars is coming up with different ways of doing things.
@Hiphopdabop6 ай бұрын
Bravo
@Hositcaos6 ай бұрын
Ciao bel video , hai fatto vedere come fai la tua chitarra con spiegazioni e anche modo di interpretare il suono , ho visto pure i patens , o modi vibratori , li la cosa è veramente interessante , tuttavia il modo in cui li hai svolti è errato , non con questo non puoi migliorare anzi devi farlo , ti consigli di rivolgerti a un fisico acustico , posso dirti solo che il mio maestro fa chitarre da 65 anni e le prova con il pollice , non tutte ma ha fatto strumenti bellissimi , ad oggi è uno dei liutai piu quotato del settore , io non ho fatto il liutaio per vivere , tutt altro ma mi sono occupato ma mi sono occupato della fisica della materiali , anche se faccio qualche chitarra le mie le provo in maniera diversa , te li spiego in due parole , in anzi tutto non faccio doppio strato ne con balsa ne con nomex ne carbonio , le prova cominciano dalla tv in genere in abete rosso , dopo che la incollo alle fasce e inserisco il ponte senza il fondo il primo modo è tra i 190hz , con il fondo che sarà fatto a un quarto di nota dalla fondamentale si accopperà al top facendo salire ancora la sua nota fondamentale a210hz , ma tutto questo con fondo inserito che avra la sua nota fondamentale a 320HZ , quando queste si mettono in accordo tonale si avranno colori e armonici che ne fanno uno strumento bello e unico , ripeto la chitarra classica non è una tromba , e non deve avere un suono eccessivo ,direttivo e misto a materiali non legnosi , ma un suono dolce prodotto dal legno , secondo i moduli che hai fatto vedere a 30 hz già si sviluppa il modo di vibrazione 1.0 a 330 il dipolo o modo 1.1 , nelle mie chitarre sotto i 60hz non ci sta nulla, sopra si muove appena sopra sino al primo modo che è 1.0a 205 a215 hz , capisco che non sra facile capire quello che ho scritto ma i traduttori ci stanno anche di buona qualità ciao
@chuan-kangshih786 ай бұрын
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.
@chuckmorrison6 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
@davidduca84217 ай бұрын
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
@chuckmorrison7 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.
@oldbikerbear7 ай бұрын
Well! That certainly answers my question of how do pin top guitars sound? That one sounds lovely and looks fantastic!
@davidturner61547 ай бұрын
The new microphone is working well. Suggestion: when demo'ing, it would be very helpful to hear notes all of the way up the fretboard. Thanks!
@chuckmorrison6 ай бұрын
True. I wasn't really thinking about that when I recorded this video. I'll try to make sure to incorporate that in the future.
@divinoferreira49587 ай бұрын
Um trabalho muito bem feito e mais é um terapia
@chuckmorrison7 ай бұрын
Eu que agradeço
@schrammguitars7 ай бұрын
Cool idea.
@user-xs2nb6jz7c7 ай бұрын
What is the power of you frequency generator set-up? Love you videos.
@chuckmorrison7 ай бұрын
I don't know what it's ouput is. I did use a kill-a-watt meter (on the input) and at the highest volume it drew ~75 watts for the loudest frequency. I never use it at full volume. I set it about 1/2 way, although I don't know if it's linear or logarithmic.
@mikehasson61467 ай бұрын
I know you say you try not to do video of actual machine use, I too would love to see you in action with this little gem of a device. I don't necessarily need to be told what direction of travel to take, but I believe watching you cut a binding channel would inform me as to how to become proficient at its use in less practice time. Would still need to practice and develop that "feel", but starting from a more informed beginning point would be helpful (at least for me)
@murraykilpatrick30297 ай бұрын
Hi I build my neks the same way as you. I have similar jig for cutting. But for the table saw instead of the bandsaw. I made a jig to glue the parts together. If you wish I'll photograph it and send it to you? I tend to insert carbon fibre flats into every neck I build. I ensure that the inserted flats run right up the full length of the neck. Right up to the nut. I imagine that you may do similarly.. I figure, that if the neck isn't flexing, then its not taking energy away from the bridge and soundboard. Thanks so much for your vids. I find, your enquiring and humble manner, extremely beneficial.
@jonahguitarguy7 ай бұрын
Good video Chuck. I'm sure you've thought of why the other music stores closed down. Probably didn't want to be charities. In a collage town there prolly isn't a lot of extra cash among students. Past the necessities, pizza and beer. I appreciate what you want to do. Good luck.
@chuckmorrison7 ай бұрын
Well, one closed when the owner retired, the other had rather unique circumstances I'd rather not go into. The pandemic killed quite a few local businesses by itself, but in this case both would have probably quit without it.. I don't expect to make any money on the effort, but I hope to get something worthwhile (non-monitary) for the time and money involved. Nothing ventured, nothing gained.
@jonahguitarguy7 ай бұрын
@@chuckmorrison not even knowing you Chuck I can tell money is not your motivation. Makes me appreciate your channel and this music store venture even more.
@murraykilpatrick30297 ай бұрын
Very best wishes from kiwi land.. I really enjoy and value your videos.. I a part time hobby luthier, when u find time.. I wouldn't say that im a wonderful luthier.. But i, my family and a fee of my friends play my instruments. Like you, im an ever curious experimentor. The what if I tried this fascinates me. Im a very long time folkie.. Probably around your age or a bit older. I usually start with etc. Very best wishes and thanks so much..
@NeverTalkToCops17 ай бұрын
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.
@ksgjlg7 ай бұрын
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
@chuckmorrison7 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.
@ksgjlg7 ай бұрын
@@chuckmorrison thanks for the reply. Your videos are some of the best, intelligent guitar videos I've seen. Thanks for posting them
@kickhisassseabass3187 ай бұрын
I was dubious about this actually working but I followed chuck Morrison's instructions and it worked exactly how he said. Thankyou
@fusion-music7 ай бұрын
Thanks. Seems that anything that isn't meant to be taken apart can be fake. Many scams around. I do guitar tech jobs and had a guitar brought in with covered humbuckers which sounded awful. I changed them out for dimarzio PAF and thought I'll investigate the old pickups and they were single coil.
@jonahguitarguy7 ай бұрын
Looking forward to the guitar build. I make my molds so they separate. I guess you don't see that as necessary. Your thoughts?
@chuckmorrison7 ай бұрын
I've never had a need to separate the mold in use. I do have some that separate, but I never do it. Why would you need to ?
@jonahguitarguy7 ай бұрын
@@chuckmorrison I guess if you wanted to leave it in the mold while glueing the plates on. Obviously you don't do that.
@chuckmorrison7 ай бұрын
I don't as a general practice, although I have done so a few times. The only issue was to trim the plates flush with the sides so the assembled body slipped out of the form. Most of the time I glue the first plate onto the sides while in the form. The second plate is then glued on without the form.
@fusion-music7 ай бұрын
Great build. Thanks
@jonahguitarguy7 ай бұрын
looks good Chuck.
@hampshirepiano63837 ай бұрын
Sounds like it's made of sheet metal. If that's what was intended---then it's a yay!
@jonahguitarguy7 ай бұрын
Very nice Chuck. That quartered sycamore is amazing. Just a back though? Not a top?
@chuckmorrison7 ай бұрын
On an electric solid body I think it would be stunning. I don't like hardwoods as acoustic guitar tops, including Mahogany and/or Koa, but some people/companies do use these woods for tops and lots of folks like them. Give it a try and let me know how it works for you.
@jonahguitarguy7 ай бұрын
@@chuckmorrison I’ve got a lot of acoustics to build before I get to that one.
@hampshirepiano63837 ай бұрын
Nice! When I was a kid there were these closet ironing boards all wood, and some of them had been around sine the 30's and 40's there was a similar mechanism for holding it in position for ironing. I haven't seen one of those in maybe 50 years.
@chuckmorrison7 ай бұрын
Yes, I remember those. I'm sure they predate the 20th century. I wasn't thinking of ironing when I came up with the design, but I'm sure there's an influence there somewhere.
@alandust21887 ай бұрын
Looking forward to this series.... THANKS
@mikehasson61467 ай бұрын
I'm wondering why you wouldn't make your "standard" size for testing the same as a back or side so you could test the actual piece you would be building with? I've seen a great variety of stiffness from pieces of the same species of wood. You could always place the back or side so that you were measuring the same way (centered in both length and width for example).
@chuckmorrison7 ай бұрын
Yes, there can be a good deal of difference between samples of wood of the same species, which is why I test. I standardize on a smaller piece because I build more than one body shape, so standardizing on a full back would not be helpful. In point of fact, I used to measure deflection in both directions and on the back itself. I found it awkward and unreliable with way too many variables to keep track of and account for. Whenever possible I try to keep it simple and effective.
@mikehasson61467 ай бұрын
@@chuckmorrison so is the piece you test from the larger piece you intend to build from? I often don't have enough material to sacrifice a small sample for testing. I like the test setup, I guess I'm just wondering how to put it to use for each instrument I am building. Sorry if I'm being daft, I'm always looking for ways to make these types of assessments and I don't want to miss the chance to learn something that seems like it would be very helpful just because I'm missing something here
@chuckmorrison7 ай бұрын
Yes, the piece I test is usually from the area right next to the upper bout. I usually resaw my backs and have the spare area to test. Most presawn back wood also has enough to test in this area.
@jonahguitarguy7 ай бұрын
Even though I've been building guitars for a long time I always enjoy watching others who obviously know their craft. I personally wouldn't mind a longer format video. Thanks for sharing you knowledge Chuck.
@chuckmorrison7 ай бұрын
Thanks for the comment. I purposely cut this one up into lots of smaller videos so I could stretch it out over a week or so. I wanted to keep each one short and to the point. When I go into the guitar itself the videos will be longer.
@jonahguitarguy7 ай бұрын
@@chuckmorrison nothing wrong with that
@thepragmaticluthier7 ай бұрын
"How can such a small guitar sound so big ?" I was hoping you would offer a reasonably succinct answer to that question.
@hampshirepiano63837 ай бұрын
This presents the opportunity of a comparison side by side. Can't wait.
@hampshirepiano63837 ай бұрын
Hmm---are you going to use solid wood for everything?
@chuckmorrison7 ай бұрын
Yes, absolutely.
@TebbieBear8 ай бұрын
Really looking forward to this one!
@jonahguitarguy8 ай бұрын
Good info Chuck. Thanks
@jonahguitarguy8 ай бұрын
Should be fun!
@RAkers-tu1ey8 ай бұрын
I look forward to this series. BTW, your like counter isn't working?
@ggergg64238 ай бұрын
I have that same old spokeshave
@fragslap52298 ай бұрын
Sounds pretty much like every other classical guitar.
@droneblake89688 ай бұрын
Yeah would be better if the demo wasn’t recorded on a potato
@fares36518 ай бұрын
Do you know by any chance the name of music the maestro played at the end? Great sounding guitar
Пікірлер
What do you use to hold the secondary bearing? Is it simply a nut and bolt or is it something you made? I’d appreciate any more insight into making your jig. It’s the best design I’ve seen being the best combination of simple, accurate and compact
Absolutely the most dreaded and scary. I tend it put off the longest.
Thank you Chuck. That was very informative. In regards to the router, are you using a laminate/trimmer router with a 1/4” collet? If so, what brand do you recommend? Appreciate the help as I’m looking to purchase a small router for this procedure. Thank you.
yes, a laminate trimmer type of router is the only practical device for this unless you can find something even smaller/lighter. A dremel tool is not powerful enough and can't handle 1/4" bits. A good base is important for this kind of setup, so that eliminates most of the cheaper alternatives with plastic bases. The one I show in the video is a Bosch, and I've also used an older Rockwell. I've heard of people using Dewalts.
@@chuckmorrison Thank you Chuck! That was helpful!
Chuck or Kenny !!!!
I just completed a guitar using full width linings. Guitar has fewer overtones, clearer sound and less volume to the player. I also used a 1/8 back. I used mesquite for the whole build including the top.
Interesting observation. What are you comparing it to ? Is this the first one you've used with full linings? I'd be wary of drawing conclusions from one sample.
@@chuckmorrison I agree. Part of these observations have to include the use of mesquite for the top. As to the loudness, it's similar to a resonator I built all metal. It projects so it sounds quieter to the player. Regardless I will use full width linings going forward. Thanks for your experiments
@gunnyoorah1846 0 seconds ago how do i weld the tang on a vintage spokeshave, like the one you have. i have no welding suff just glue ... and rubber bands? suggestions from anyone will be appreciated..
hello, have you had success with this method and ebony purfling? thank you
Yes, and bending ebony sides as well. I do change soaking time and pipe temperature when bending wood, either sides or binding, depending on the density and/or stiffness of the wood.
super clever jig!
sir how to add the weight on the already built instrument ?
To start with, use adhesive tape or the type of tape that is used to hold microphones inside acoustic guitars. Once you have tested the weight and location to get the desired frequencies, they you can use a more permanent adhesive.
what about for electric guitars? is it worth getting a quartersawn neck? and secondarily, a body?
Many electric guitar necks are slab sawn including Fender. So I doubt much value can be had debating that point. I also don't think trying to analyze grain direction on a slab of wood that is completely covered in a thick finish is very fruitful. I know there are folks that would take that challenge, but I'm not one of them.
Wouldn't it be better to hold the speaker over the bridge position as this will be the center of vibration from the strings - perhaps it doesn't make any difference but my understanding is that one of the lower resonances will be the Helmholtz resonance of the air cavity, it would seem that at that frequency the speaker could interfere with the air movement in and out of the soundhole.
You are correct in that the lowest resonance strong resonance that shows up is the air cavity resonance. But it depends on what you're looking for. Both of the air and top resonances show up very nicely either way, but my experience is that they show stronger when driven from the sound hole. The next few top resonances show up well as well. To go beyond that it is necessary to drive the top directly. It should be noted that this is before the bridge is glued on, which does change things a bit.
I just did this on my current guitar. I put neck and heel blocks in first. Heel block on top of lining would be OK but what about the neck block? I use a bolt on neck without a tennon
I glue the heel block directly to the lining. That allows contiguous lining around the entire body.
Loud and resonant. Sometime ago a luthier in Athens showed me an oak guitar he had made. It was a rather small body instrument, the type we call in Greece "tavern guitar". I didn't like it's sound very much, I found it too harsh. But it was a steel string, not a nylon string guitar. I guess oak is suited much better to nylon strings.
Ciao vedo con piacere che hai studiato un pochino della fisica della chitarra classica in termini di volume dell aria , però devo dissentire su altri argomenti , in primo luogo la struttura della chitarra è elastica soggetta a dei forti cambiamenti atmosferici , quindi non è solo la lunghezza dell onda che incide , ma un insieme di fattori che dobbiamo tenere in mente la prima cosa è che ne va fatto un calcolo per litri che poi va per il collo della bottiglia , poi l elasticità della tavola e del fondo , che tu fai in maniera diversa di come va fatto tradizionalmente , da tre millimetri non lo faccio di certo , anche perché ritengo che deve interagire con la tv , quindi la completezza del dipolo, in ogni caso alcune chitarre hanno 129 hz sul colpo dato ma sul movimento interno dell aria si arriva a102hz ma non risultano avere interferenza con il sol a 196, ma perché va a204 hz , devo dire che mi è sembrato interessante il lavoro alle spalle , di certo ne ridarà alcune perdite ,ma non sono d accordo con il doppio top con il nomex , ne con il fondo troppo spesso , con questo non vuol dire che io sia in possesso della verità , bisognerebbe confrontarle in studio di registrazione , perche vedi in una sala grande la direttività dello strumento può essere tutta di fronte , e quindi dare l impressione di un maggior volume ed efficienza sonora , ma quando sei in una stanza piccola il suono diventa pari , perché in quel vecchio strumento poi ci sono le armoniche che escono da tutte le parti , di questi dati mi piacerebbe sapere la tua impressioni , ciao
Hi Chuck - Great video - I love the way you've added the mortice Routing Template to your mould - I've never seen that before - having watched hundreds of "Experts"- Its such a great and simple Idea and must save alot of messing around with seperate jigs - I mean the Neck block is right there ready to go - Good Stuff
Thanks. A lot of the fun of building guitars is coming up with different ways of doing things.
Bravo
Ciao bel video , hai fatto vedere come fai la tua chitarra con spiegazioni e anche modo di interpretare il suono , ho visto pure i patens , o modi vibratori , li la cosa è veramente interessante , tuttavia il modo in cui li hai svolti è errato , non con questo non puoi migliorare anzi devi farlo , ti consigli di rivolgerti a un fisico acustico , posso dirti solo che il mio maestro fa chitarre da 65 anni e le prova con il pollice , non tutte ma ha fatto strumenti bellissimi , ad oggi è uno dei liutai piu quotato del settore , io non ho fatto il liutaio per vivere , tutt altro ma mi sono occupato ma mi sono occupato della fisica della materiali , anche se faccio qualche chitarra le mie le provo in maniera diversa , te li spiego in due parole , in anzi tutto non faccio doppio strato ne con balsa ne con nomex ne carbonio , le prova cominciano dalla tv in genere in abete rosso , dopo che la incollo alle fasce e inserisco il ponte senza il fondo il primo modo è tra i 190hz , con il fondo che sarà fatto a un quarto di nota dalla fondamentale si accopperà al top facendo salire ancora la sua nota fondamentale a210hz , ma tutto questo con fondo inserito che avra la sua nota fondamentale a 320HZ , quando queste si mettono in accordo tonale si avranno colori e armonici che ne fanno uno strumento bello e unico , ripeto la chitarra classica non è una tromba , e non deve avere un suono eccessivo ,direttivo e misto a materiali non legnosi , ma un suono dolce prodotto dal legno , secondo i moduli che hai fatto vedere a 30 hz già si sviluppa il modo di vibrazione 1.0 a 330 il dipolo o modo 1.1 , nelle mie chitarre sotto i 60hz non ci sta nulla, sopra si muove appena sopra sino al primo modo che è 1.0a 205 a215 hz , capisco che non sra facile capire quello che ho scritto ma i traduttori ci stanno anche di buona qualità ciao
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.
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
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
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.
Well! That certainly answers my question of how do pin top guitars sound? That one sounds lovely and looks fantastic!
The new microphone is working well. Suggestion: when demo'ing, it would be very helpful to hear notes all of the way up the fretboard. Thanks!
True. I wasn't really thinking about that when I recorded this video. I'll try to make sure to incorporate that in the future.
Um trabalho muito bem feito e mais é um terapia
Eu que agradeço
Cool idea.
What is the power of you frequency generator set-up? Love you videos.
I don't know what it's ouput is. I did use a kill-a-watt meter (on the input) and at the highest volume it drew ~75 watts for the loudest frequency. I never use it at full volume. I set it about 1/2 way, although I don't know if it's linear or logarithmic.
I know you say you try not to do video of actual machine use, I too would love to see you in action with this little gem of a device. I don't necessarily need to be told what direction of travel to take, but I believe watching you cut a binding channel would inform me as to how to become proficient at its use in less practice time. Would still need to practice and develop that "feel", but starting from a more informed beginning point would be helpful (at least for me)
Hi I build my neks the same way as you. I have similar jig for cutting. But for the table saw instead of the bandsaw. I made a jig to glue the parts together. If you wish I'll photograph it and send it to you? I tend to insert carbon fibre flats into every neck I build. I ensure that the inserted flats run right up the full length of the neck. Right up to the nut. I imagine that you may do similarly.. I figure, that if the neck isn't flexing, then its not taking energy away from the bridge and soundboard. Thanks so much for your vids. I find, your enquiring and humble manner, extremely beneficial.
Good video Chuck. I'm sure you've thought of why the other music stores closed down. Probably didn't want to be charities. In a collage town there prolly isn't a lot of extra cash among students. Past the necessities, pizza and beer. I appreciate what you want to do. Good luck.
Well, one closed when the owner retired, the other had rather unique circumstances I'd rather not go into. The pandemic killed quite a few local businesses by itself, but in this case both would have probably quit without it.. I don't expect to make any money on the effort, but I hope to get something worthwhile (non-monitary) for the time and money involved. Nothing ventured, nothing gained.
@@chuckmorrison not even knowing you Chuck I can tell money is not your motivation. Makes me appreciate your channel and this music store venture even more.
Very best wishes from kiwi land.. I really enjoy and value your videos.. I a part time hobby luthier, when u find time.. I wouldn't say that im a wonderful luthier.. But i, my family and a fee of my friends play my instruments. Like you, im an ever curious experimentor. The what if I tried this fascinates me. Im a very long time folkie.. Probably around your age or a bit older. I usually start with etc. Very best wishes and thanks so much..
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.
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
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.
@@chuckmorrison thanks for the reply. Your videos are some of the best, intelligent guitar videos I've seen. Thanks for posting them
I was dubious about this actually working but I followed chuck Morrison's instructions and it worked exactly how he said. Thankyou
Thanks. Seems that anything that isn't meant to be taken apart can be fake. Many scams around. I do guitar tech jobs and had a guitar brought in with covered humbuckers which sounded awful. I changed them out for dimarzio PAF and thought I'll investigate the old pickups and they were single coil.
Looking forward to the guitar build. I make my molds so they separate. I guess you don't see that as necessary. Your thoughts?
I've never had a need to separate the mold in use. I do have some that separate, but I never do it. Why would you need to ?
@@chuckmorrison I guess if you wanted to leave it in the mold while glueing the plates on. Obviously you don't do that.
I don't as a general practice, although I have done so a few times. The only issue was to trim the plates flush with the sides so the assembled body slipped out of the form. Most of the time I glue the first plate onto the sides while in the form. The second plate is then glued on without the form.
Great build. Thanks
looks good Chuck.
Sounds like it's made of sheet metal. If that's what was intended---then it's a yay!
Very nice Chuck. That quartered sycamore is amazing. Just a back though? Not a top?
On an electric solid body I think it would be stunning. I don't like hardwoods as acoustic guitar tops, including Mahogany and/or Koa, but some people/companies do use these woods for tops and lots of folks like them. Give it a try and let me know how it works for you.
@@chuckmorrison I’ve got a lot of acoustics to build before I get to that one.
Nice! When I was a kid there were these closet ironing boards all wood, and some of them had been around sine the 30's and 40's there was a similar mechanism for holding it in position for ironing. I haven't seen one of those in maybe 50 years.
Yes, I remember those. I'm sure they predate the 20th century. I wasn't thinking of ironing when I came up with the design, but I'm sure there's an influence there somewhere.
Looking forward to this series.... THANKS
I'm wondering why you wouldn't make your "standard" size for testing the same as a back or side so you could test the actual piece you would be building with? I've seen a great variety of stiffness from pieces of the same species of wood. You could always place the back or side so that you were measuring the same way (centered in both length and width for example).
Yes, there can be a good deal of difference between samples of wood of the same species, which is why I test. I standardize on a smaller piece because I build more than one body shape, so standardizing on a full back would not be helpful. In point of fact, I used to measure deflection in both directions and on the back itself. I found it awkward and unreliable with way too many variables to keep track of and account for. Whenever possible I try to keep it simple and effective.
@@chuckmorrison so is the piece you test from the larger piece you intend to build from? I often don't have enough material to sacrifice a small sample for testing. I like the test setup, I guess I'm just wondering how to put it to use for each instrument I am building. Sorry if I'm being daft, I'm always looking for ways to make these types of assessments and I don't want to miss the chance to learn something that seems like it would be very helpful just because I'm missing something here
Yes, the piece I test is usually from the area right next to the upper bout. I usually resaw my backs and have the spare area to test. Most presawn back wood also has enough to test in this area.
Even though I've been building guitars for a long time I always enjoy watching others who obviously know their craft. I personally wouldn't mind a longer format video. Thanks for sharing you knowledge Chuck.
Thanks for the comment. I purposely cut this one up into lots of smaller videos so I could stretch it out over a week or so. I wanted to keep each one short and to the point. When I go into the guitar itself the videos will be longer.
@@chuckmorrison nothing wrong with that
"How can such a small guitar sound so big ?" I was hoping you would offer a reasonably succinct answer to that question.
This presents the opportunity of a comparison side by side. Can't wait.
Hmm---are you going to use solid wood for everything?
Yes, absolutely.
Really looking forward to this one!
Good info Chuck. Thanks
Should be fun!
I look forward to this series. BTW, your like counter isn't working?
I have that same old spokeshave
Sounds pretty much like every other classical guitar.
Yeah would be better if the demo wasn’t recorded on a potato
Do you know by any chance the name of music the maestro played at the end? Great sounding guitar