Відео

You have a great advantage being a woodworker already. You could start with a kit if you prefer, but I think building with a kit is almost TOO "paint by number" in nature. Still, a kit may suit your particular needs. My preferred approach would be to start by obtaining a copy of "Guitar Making Tradition and Technology" by William Cumpiano and John Natelson. This particular book explains and shows you how to build a guitar, in detail and it places much of guitar making in a context, providing at least some reason for, doing what you are doing. It is excellent instruction and an excellent springboard for further development. As a practiced woodworker, you will most likely be able to extrapolate on many of the systems and techniques shown in the book, adapting to your skill and available equipment to the procedures required. Don't fall for buying expensive materials. They won't get you a better guitar. If I can of further help, contact me through my website, www.ladueguitars.com. I would be especially interested in learning from you, what, if any, questions, frustrations, confusions, speed bumps you run into during your experience and of course, the guitar you make. Great good luck. All best.

1059 square feet of actual floor space.

My shop is what it is because I had a dream 50 years ago. You can dream too. All best

Thank you. I thought it might be foolish spending what it takes to do this, but I'm "sucking the juice out of retirement" and enjoying every bit of it.

@@thepragmaticluthier: There ya go. 😁✌🖖

Thank you.I'mlooking forward to producing more useful content.

Well,I might. I used to work with a shop teacher who didn't have a square meter of uncluttered space in his classroom. I don't know how he taught in that; cluttered, dangerous, disorganized and very poor modeling to students.

@@thepragmaticluthier oh dear, mines not that bad, but its still a pig sty. I made the mistake of telling the wife it was okay to store some of our daughter's old stuff in there...and suddenly there was ten times more junk than I thought lol...too late now 🤣

Thank you! I might do a short video in those boards and holding devices.

My total square footage is just over 1100 square feet.

The addition is 10' X 20', enough top comfortably create a small machine shop. This brings the shop to 1049 square feet of actual floor space. It isn't because I need it., It's because I was a shop teacher; can't live without my own Industrial Arts department:)

I can't honestly say that I need it, but I certainly enjoy my shop and work in there every day.

Thank you! And thanks for staying tuned:)

This is 400 board feet of Black Walnut

@@thepragmaticluthier .........which equals a few guitars Kevin and all at cost price 😉😊

The same friend who gave me the Butternut log for the bass guitar had these trees taken down and offered me the logs. I gave the hauler the majority of the logs in trade for moving them. I have worked with several mills and sawyers over the years, this one is one of the best. I have almost all of my lumber sawn 5/4, especially if it is intended for instrument purposes. The lumber will remain in stick as seen in the video for one year and will be moved to a storage building for another year. I reduce each board as needed into shorter billets as dictated by need and what a board can yield. While a lot of my lumber is intended for instrument use, a real deal of it goes for furniture, millwork and any other needs that I may have. I took this lumber because the quality is high and I got it for the price of sawing, a mere $.50 per board foot. The reality is, I'm sitting on more lumber than I can possibly use, abut 2000 board feet. I think I might be compulsive:)

The sawing method depends on the log and what I need to get out of it anymore often than not it's a compromise, but rarely if ever, do I square a log into a cant and saw from there.

The lumber will dried as seen in the video for a year and then moved into a building for an additional year before anything is fabricated from it.

You're welcome. thank you for watching.

I'm not sure I understand exactly what your message is, but respect to money spent, it's a convoluted logic and system when you pay big money for that perfect top in one guitar, but obscene dollars for tops that have under water, under ground, or some structure for who knows how long. But none of that is about music; it's ALL about money and putting one's thumbs behind one's suspenders and pushing way out. The more you pay, the farther you can push. Suppliers find ways to market for higher dollars. Builders find ways to maximize their returns and the buyers enjoy the bragging rights that come with affording the whole thing.

To my knowledge and experience, there is no such thing as a "hybrid" nylon string guitar. Beyond the obvious commonalities of body shape, a neck and a bridged, there is no crossover and very little overlap between steel string and nylon string guitars. Even if you want your nylon string guitar to look like a steel string guitar, putting a radius on a fingerboard, giving a non-classical guitar shape, or whatever else one proposes, the result will be all for naught. A nylon string (classical) guitar is, by its nature more easily played than a steel string instrument because the strings are much more flexible. Necks are wider on nylon string guitars because the strings themselves, being of greater diameter, take up more space on the fingerboard. It needs to be wider. Additionally, the idea that a neck becomes easier to play on as it gets narrower, to a point, is a common but misplace notion. There is little or no point to arching the fingerboard of a nylon string guitar. Classical guitar construction best practices demonstrate that clearly and an arched board may actually be a deterrent to playability. The action of a nylon string guitar must be higher than a steel string guitar, given the increased flexibility of the strings. A guitar intended to use nylon strings must be designed specifically for that purpose. Once again, classical guitar best practices demonstrate this consistently. Put nylon strings on a steel string guitar and you will immediately hear a loss of volume, a muddy, inarticulate tone lacking in strength and harmonics throughout the range of the guitar.