I'm cheap too, brother. The wedge is one of the woodworker's best secret weapons. Glue does not discriminate against cheap simple methods of applying proper clamping force. Archimedes would approve. Carry on!
Very cool Kevin, I really enjoy your channel, just came across it the other day, I watched your video’s starting at the beginning, I’m a luthier for gosh 36 years now, keep up the video’s and I’ll keep watching !
I love both jigs and your attitude. A lot of channels only show enough, to try and draw you in to taking some course they have on line, or reserve time and travel to some shop they have to build a guitar. For anyone, (and I hope you're okay with me saying this), that wants to build the 2nd jig, Home Depot and others sell a product called "uni strut", which a 10 ft length sells for about 30-35 dollars. You can buy 2 foot sections for around $18.00. These have holes on the back side of the U-shape, and you could mount these to MDF or plywood. This would eliminate 4 c-clamps, or you could use it exactly as you have demonstrated. Thank you again for such a wonderful video.
I use a “Spanish cross” fixture which is similar, one central 3/4” plywood rib with 4 1/2” plywood cross pieces screwed to the front. I have notches in the end of two cross pieces that lock the end of the drape pull cord I use to compress the panels. 4 figure 8 wraps per rib. I insert the wedges from alternating sides. This cord tensioned fixture works well for me. Many of my ukulele front/back blanks are not straight on the outside so cord adapts well.
It's like walking into Woodworking Heaven. Watching many guitars being made here on UA-cam I am also made aware of the contrasts. What I mean by that is your shop in compared to some guy in Asia working on the floor with hand tools.
Hi Kevin. Great video, very clear and concise. It would be great to see you make a video showing your technique for jointing the edges of tops and backs, before gluing up. I have tried this, and felt like I was chasing an elusive result, never quite getting the pieces perfectly flat and flush. Thanks again Kevin.
Great ideas! What's holding me back a bit is the expense of tools. For example, the cost of a drum sander wide enough to level the tops, sides and backs. The time to build one is considerable, although one fellow adapts a wood lathe, which I think is genius. I am stuck on the cost of radius dishes at around $90 and upwards. I will search through your vids for any possible workarounds. I can imagine they can be made with a series of 2x's affixed to a piece of MDF, similar to your back and top jig, but with compound radii where needed (below the sound hole, for example).
I've taken considerable time to think about your comment. I certainly understand your situation, recalling not long ago when a sheet of 3/4" MDF was something to wish for at Christmas time. You can build good instruments with surprisingly few tools and pieces of equipment. A good hand plane and scraper can replace a jointer, planer and drum sander. It's not easier and it's a set of skills to be learned, but it is very doable. As for a homemade drum sander, I wouldn't attempt it unless you are or know and pretty good machinist. Even simple machinery, when home built (at considerable expense) can become a "dance partner" of vibration and inherent inaccuracy, coupled with imprecise adjustability. Radius dishes can be made with two layers of 3/4" MDF. There are several good videos demonstrating how to make them at far less cost than purchasing ready made ones. I am not aware of any situation except compound radius fingerboards where a compound radius is required.
Thanks for your thoughtful reply and advice regarding the homemade drum sander. I don't think I was clear with regard to the radius disc. I was imagining instead of the disc, building just a wooden frame that might require a compound radius, to clamp or "go bar" the backs and tops to-- sort of like guitar bracing but on the outside of the guitar. Anything to prevent all that poisonous mdf dust! @thepragmaticluthier @@thepragmaticluthier
Thank you for all your work. I know making videos is a lot of work. Have you done a video on which glues to use? I see other guitar makers using regular Titebond but I always thought that for tops and necks and bridges that hide glue was preferred for easier service in the future.
I can give you a direct short answer to your question. For all of your body and neck assembly tasks, standard Aliphatic Resin (Titebond, Elmers) glue is excellent. White (casein) glue is sometimes nice for glueing bindings because it has a long open time, but it's a requirement at all. Lastly, if you make laminated bindings that will then be bent with heat, Titebond II or even Titebond III is said to be excellent, being able to withstand the heat without delimitation. Hide glue is clearly excellent but requires practice and warming equipment and it has MANY disadvantages. Unless you're a purist or a strict reproduction connoisseur, I'd leave it behind.
Excellent channel Kevin, much appreciated. I think much like you in the shop, making my own tools/jigs etc where practical - I find this approach teaches you to think differently, it keeps you sharp. What I have not found on your channel is how you create your rosettes. I have seen your video on making the rosette tiles, which is great, but what if you were not using tiles to create the rosette? How do you do it? Cheers, Bobby
I employed;y a few different techniques for making rosettes, but have been reluctant to do a video on them because some, to be honest are sort of clumsy, not well perfected. I also approach rosettes from a blank page perspective, starting with a basic notion and follow my intuition and aesthetic sense. One thing is for sure! If you get stuck using a narrow range of techniques, your work will become unimaginative, being hindered by the technique itself.
Excellent video production sir! I really appreciate your thoughtful and PRAGMATIC approaches to guitar making. I also appreciate the alternative method you showed us. I'm definitely subscribed and expect your channel to be very successful due to its excellent content and production quality. Thank you.
I would start with the first one shown. It is very versatile. The second, I use for very large tops, unusually thin materials and those backs that don't have parallel outer edges. Happy building.
Good information! New subscriber here! How thick do you have the wood at this point in the process? Do you do additional thickness sanding after this or join the halves when you are at their final thickness?
@@thepragmaticluthier Thanks! I'll check it out! In my question above, I was wondering about the thickness of the soundboards when you glue them, versus your goal for the final thickness.
Length & width depend on the available space the wedges have to function in. The diagonal is a compromise between desired expansion in width and the force you expect to apply. I wish I could give you a formula, but there is really no need for that level of specificity.
@@thepragmaticluthier Thanks for the reply. I'm sorry, but I was very clumsy with my request. What I would like is dimensions for two things. 1. The board you made the wedges out of. (Probably something like 20" X 6" I'm guessing.?. Then you cut the diagonal.) 2. And also the dimensions of the rack. How long are the 4 crossmembers and how long are the two supports. Thanks again. If you can't remember or can't get a quick measurement then please disregard the request. I'm asking because if your dimensions work for you it could save me making this thing twice if I estimate too short or long. Thanks again.
Ok, I did it, and it's all your fault! I made a version of the jig w/ the ropes, and glued up my top today... Rule #4: Consider everything an experiment. We'll see how it goes.
Much simpler than 95% of others I've seen, thanks for sharing a simple but effective & efficient design 👍😁
I'm cheap too, brother. The wedge is one of the woodworker's best secret weapons. Glue does not discriminate against cheap simple methods of applying proper clamping force. Archimedes would approve. Carry on!
Very cool Kevin, I really enjoy your channel, just came across it the other day, I watched your video’s starting at the beginning, I’m a luthier for gosh 36 years now, keep up the video’s and I’ll keep watching !
Thank you for your encouragement. Do keep an eye out. I'm hoping to provide more thought provoking content.
great vid. i like these kinds of jigs and appreciate the step by step like the way you tie the wedges down.
Excellent! Thank you for sharing. Have a blessed day.
I love both jigs and your attitude. A lot of channels only show enough, to try and draw you in to taking some course they have on line, or reserve time and travel to some shop they have to build a guitar.
For anyone, (and I hope you're okay with me saying this), that wants to build the 2nd jig, Home Depot and others sell a product called "uni strut", which a 10 ft length sells for about 30-35 dollars. You can buy 2 foot sections for around $18.00. These have holes on the back side of the U-shape, and you could mount these to MDF or plywood. This would eliminate 4 c-clamps, or you could use it exactly as you have demonstrated.
Thank you again for such a wonderful video.
Thanks for you comment and your suggestion regarding materials. I like that.
Very clear presentation, including some fine walnut with old spike holes! Fantastic!
Great ideas! Thank you señor Kevin. JT- Colombia SA
My pleasure. Thank you for watching.
Awesome JIG !! I’m building one today!! Thank you
Very nice. Thank you. I'm gointa try that second one.
Good luck!
1000! Enjoying your channel I just found!
Thank you! You are so helpful! And I love the Wilcox too!😊
We're on the same page with the David Wilcox thing.
I use a “Spanish cross” fixture which is similar, one central 3/4” plywood rib with 4 1/2” plywood cross pieces screwed to the front. I have notches in the end of two cross pieces that lock the end of the drape pull cord I use to compress the panels. 4 figure 8 wraps per rib. I insert the wedges from alternating sides. This cord tensioned fixture works well for me. Many of my ukulele front/back blanks are not straight on the outside so cord adapts well.
It's like walking into Woodworking Heaven. Watching many guitars being made here on UA-cam I am also made aware of the contrasts. What I mean by that is your shop in compared to some guy in Asia working on the floor with hand tools.
Thanks Kevin, as a beginning luthier I appreciate the jig building and tips.
Glad to help! Can you suggest another topic for beginning luthiers?
@@thepragmaticluthier, another topic; what neck joint do you use (dovetail or MT), why, and how do you cut your tenon?
Thanks for that question and suggestion. I'll be working on a short video on that soon.
That's a great idea and very simple. I may be in the "jig" making business (for myself) soon.
Love what you’re doin Kev! From one Uncle Kev to another, keep it up. Love these pragmatic videos.
Love the wedge setup. So simple !!!
Hi Kevin. Great video, very clear and concise.
It would be great to see you make a video showing your technique for jointing the edges of tops and backs, before gluing up. I have tried this, and felt like I was chasing an elusive result, never quite getting the pieces perfectly flat and flush.
Thanks again Kevin.
Great suggestion! There seems to be several videos on that very subject, but I will give this one a shot for you. Keep looking, it will turn up.
Nice video + some David Wilcox!
Awesome 😎 Info.... thanks
Glad it was helpful!
Nice video + some David Wilcox music!
Yes, David Wilcox. i have a constant stream of random artists playing while I work and I rather like the background music while I'm filming.
Thanks very much good information
Thank you. I'm not as prolific with my videos as some, but I do enjoy making them. Would you like to suggest a topic?
I always used a temporary jig like you describe the second version. It seems I’ve always get odd shaped tops and backs lately.
Very helpful, sir. Thank you.
Glad it was helpful!
Great ideas! What's holding me back a bit is the expense of tools. For example, the cost of a drum sander wide enough to level the tops, sides and backs. The time to build one is considerable, although one fellow adapts a wood lathe, which I think is genius. I am stuck on the cost of radius dishes at around $90 and upwards. I will search through your vids for any possible workarounds. I can imagine they can be made with a series of 2x's affixed to a piece of MDF, similar to your back and top jig, but with compound radii where needed (below the sound hole, for example).
I've taken considerable time to think about your comment. I certainly understand your situation, recalling not long ago when a sheet of 3/4" MDF was something to wish for at Christmas time. You can build good instruments with surprisingly few tools and pieces of equipment. A good hand plane and scraper can replace a jointer, planer and drum sander. It's not easier and it's a set of skills to be learned, but it is very doable. As for a homemade drum sander, I wouldn't attempt it unless you are or know and pretty good machinist. Even simple machinery, when home built (at considerable expense) can become a "dance partner" of vibration and inherent inaccuracy, coupled with imprecise adjustability. Radius dishes can be made with two layers of 3/4" MDF. There are several good videos demonstrating how to make them at far less cost than purchasing ready made ones. I am not aware of any situation except compound radius fingerboards where a compound radius is required.
Thanks for your thoughtful reply and advice regarding the homemade drum sander. I don't think I was clear with regard to the radius disc. I was imagining instead of the disc, building just a wooden frame that might require a compound radius, to clamp or "go bar" the backs and tops to-- sort of like guitar bracing but on the outside of the guitar. Anything to prevent all that poisonous mdf dust! @thepragmaticluthier @@thepragmaticluthier
Thank you for all your work. I know making videos is a lot of work. Have you done a video on which glues to use? I see other guitar makers using regular Titebond but I always thought that for tops and necks and bridges that hide glue was preferred for easier service in the future.
I can give you a direct short answer to your question. For all of your body and neck assembly tasks, standard Aliphatic Resin (Titebond, Elmers) glue is excellent. White (casein) glue is sometimes nice for glueing bindings because it has a long open time, but it's a requirement at all. Lastly, if you make laminated bindings that will then be bent with heat, Titebond II or even Titebond III is said to be excellent, being able to withstand the heat without delimitation. Hide glue is clearly excellent but requires practice and warming equipment and it has MANY disadvantages. Unless you're a purist or a strict reproduction connoisseur, I'd leave it behind.
Excellent channel Kevin, much appreciated. I think much like you in the shop, making my own tools/jigs etc where practical - I find this approach teaches you to think differently, it keeps you sharp. What I have not found on your channel is how you create your rosettes. I have seen your video on making the rosette tiles, which is great, but what if you were not using tiles to create the rosette? How do you do it? Cheers, Bobby
I employed;y a few different techniques for making rosettes, but have been reluctant to do a video on them because some, to be honest are sort of clumsy, not well perfected. I also approach rosettes from a blank page perspective, starting with a basic notion and follow my intuition and aesthetic sense. One thing is for sure! If you get stuck using a narrow range of techniques, your work will become unimaginative, being hindered by the technique itself.
Excellent video production sir! I really appreciate your thoughtful and PRAGMATIC approaches to guitar making. I also appreciate the alternative method you showed us. I'm definitely subscribed and expect your channel to be very successful due to its excellent content and production quality. Thank you.
Thank you kindly!
Hi there! Good content. Which way of the ones you showed is the most efficient / accurate? I am thinking of the first. What do you think?
I would start with the first one shown. It is very versatile. The second, I use for very large tops, unusually thin materials and those backs that don't have parallel outer edges. Happy building.
@Kevin LaDue I am already using the second for a while but I am trying to find the most efficient solution.
Good information! New subscriber here! How thick do you have the wood at this point in the process? Do you do additional thickness sanding after this or join the halves when you are at their final thickness?
I have posted a video unmaking neck blanks if you're interested. I laminate my materials first, then mill the neck shafts to .750" thick.
@@thepragmaticluthier Thanks! I'll check it out! In my question above, I was wondering about the thickness of the soundboards when you glue them, versus your goal for the final thickness.
Didn't you do a 4 piece top or back? Did you use one of these devices to glue that up?
I have done several multiple piece tops and backs, all glued up on a device like those shown in this video.
Hey, what is the size of the board you made those wedges out of? Length and width (then cut on the diagonal.)
Length & width depend on the available space the wedges have to function in. The diagonal is a compromise between desired expansion in width and the force you expect to apply. I wish I could give you a formula, but there is really no need for that level of specificity.
@@thepragmaticluthier Thanks for the reply. I'm sorry, but I was very clumsy with my request. What I would like is dimensions for two things. 1. The board you made the wedges out of. (Probably something like 20" X 6" I'm guessing.?. Then you cut the diagonal.) 2. And also the dimensions of the rack. How long are the 4 crossmembers and how long are the two supports. Thanks again. If you can't remember or can't get a quick measurement then please disregard the request. I'm asking because if your dimensions work for you it could save me making this thing twice if I estimate too short or long. Thanks again.
Great info thanks. subbed for more ;)
Awesome, thank you!
Ok, I did it, and it's all your fault! I made a version of the jig w/ the ropes, and glued up my top today... Rule #4: Consider everything an experiment. We'll see how it goes.
OK, I'll take the blame, but when you enjoy success, the credit is all yours. I'm glad you derived benefit from my video.
@@thepragmaticluthier I've used that jig three times now. All three are were success, and my best panel glue ups to date. Thank you.