{"id":7547,"date":"2024-01-10T16:26:35","date_gmt":"2024-01-10T16:26:35","guid":{"rendered":"https:\/\/longspooncanoeclub.com\/?page_id=7547"},"modified":"2026-02-12T21:15:51","modified_gmt":"2026-02-12T21:15:51","slug":"dreadnought","status":"publish","type":"page","link":"https:\/\/longspooncanoeclub.com\/?page_id=7547","title":{"rendered":"Dreadnought Build"},"content":{"rendered":"
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Guitar Build #2 - Dreadnought<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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As long as the first one worked out, I was always thinking that the second one would be for my son.\u00a0 He’s interested in a Dreadnought so once again we head to the Martin archives.\u00a0<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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This is the iconic design that people typically associate with acoustic guitars.\u00a0 Strangely enough, Martin originally developed it in 1916 as a private label design for the Ditson company.\u00a0 33 were made for Ditson between 1916 and 1930.\u00a0 When Ditson was sold in 1930, the orders dried up until former Ditson dealers started asking Martin about the design.\u00a0 \u00a0So in 1931 Martin started to build it sparingly under the Martin name, but they didn’t think it was worthy of their catalog until 1934…..and the rest is history.\u00a0<\/p>

I still haven’t quite figured out Martin’s naming conventions, but this will be modeled after a pre-war “D” (for Dreadnought).\u00a0 The numbers following the D seem to indicate the details of the build, as in materials and decorations.\u00a0 This will be closer to the D-18 than the D-28, with the primary difference being the back and sides of east Indian rosewood instead of mahogany.\u00a0\u00a0 Bracing will be pre-war as well, actually pre-1938, with some fun details and Martin lore we’ll get into as we go.<\/p>

The one at the right is available for $50,000.\u00a0 Mine will be a little more affordable and have a nicer finish, it’s a win-win.<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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1939 Martin D-18, courtesy of Carter Vintage Guitars<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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I’ll be using materials in this one similar to my OM: Sitka top, east Indian rosewood back and sides, mahogany neck, blocks and kerfing, ebony fretboard and binding, and not sure on the peg head yet.\u00a0 The top has bear claw figure, which is hard to see in the photo below but will show up later.<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Plans & Molds<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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John Hall at Blues Creek Guitars says that the Stew-Mac “Herringbone Guitar” plan is accurate, so after that arrives I start in on the body forms.\u00a0\u00a0 It’s a bit easier this time around, I have a better idea of what’s around the corner.\u00a0<\/p>

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Back in the saddle<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Old school...seriously old school<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Tracing for the master form<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Outline on 1\/8\" plywood<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Refining the master on the drum sander<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Using the master to route the first layer<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Creating the mate<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Add a layer and flush route, 4 times per side<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Using the outside mold to mark out for the inside master<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Building up the inside mold from scrap to save material and weight<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Flush cut router bit is the star of this show<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Final smoothing on the drum sander<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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After this I will key the two halves then attach the clamps, and we're ready for action<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Sides<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Now that the molds are done the next step is bending the sides.\u00a0 The first stage of this process is getting them down to bending thickness, which I do with my handy-dandy garage sale thickness sander.\u00a0 After this we dust off the Bend-O-Matic, review the process and prepare to bend. <\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Ready for a new round of contact dermatitis! <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Dreadnought body mold and waist caul installed<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Wrapping the first side<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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The side is wetted and in the sandwich with the heating blanket<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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First side bent<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Cooled down and out of the mold<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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The white line marks the waist, helps alignment when putting the sandwich together<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Trial fit<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Adding the other side<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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The classic Dreadnought shape<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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This is where neck and tail blocks come from, kids<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Blocks ready to go in <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Setting up to mark the sides for trimming to length<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Spreaders in, gluing the tail block<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Blocks in<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Martin Lore, Part D-One<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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In which we interupt the regarlarly scheduled programming to go down a rabbit hole<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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One of the facets about this process that I find fascinating is the history and the reverence for the craftsmanship of the past.\u00a0 \u00a0As you get into the pre-war Martin mystique there are lots of rabbit holes to go down, and each one has its own blend of hard evidence, clues, and red herrings, so it really does make for a fun investigation.\u00a0\u00a0<\/p>

It helps to remember that Martin was a small family business trying to survive in the world of ever-changing musical tastes.\u00a0 They were evolving on the fly so model changes and methods of construction seem to have “morphed” in a lot of cases versus the distinct model changes that we’re accustomed to now.\u00a0 \u00a0This was also a world of individual craftspeople and not computerized production lines, so there are interesting variations due to human elements and the economic climate which sometimes influenced material availability.\u00a0<\/p>

As I was researching this build, one of the things I tripped over was a discussion of reinforcing strips; these are strips glued across the inside of the sides to discourage cracking.\u00a0 \u00a0The plans on my OM called for cloth or thin wood strips, I opted for thin wood strips because I liked the look and thought they would have better strength in tension if ever called into action.\u00a0 And I glued them between<\/span> the kerfing strips, not under them…because the plan didn’t indicate that they went under the kerfing, nor have any of the videos I’ve watched.\u00a0 \u00a0And the Dreadnought plan is the same way.\u00a0\u00a0 So when I came across a discussion about running them under<\/u> the kerfing it caught my attention, the argument being that if you use a butt joint between the reinforcing strip and the kerfing, it allows for a “stress riser”, i.e. a spot that would be more likely to crack.\u00a0 This jibed with a remark from Benedetto’s archtop book in which he feels that in order to reinforce the whole side as intended, the strips need to run the entire width of the side.\u00a0 Sounds logical.\u00a0 Probably totally inconsequential in any detectable way but logical. <\/p>

But the more probable explanation is that it was more efficient for Martin to do it this way.\u00a0 <\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The other aspect of this discussion was the material used for these strips.\u00a0 It seems that there was some inconsistency over the years, but that generally linen was used in the early years, giving way to other available ribbon materials such as grosgrain and polyester as time went on.\u00a0\u00a0<\/span><\/p>

I liked the linen idea so off I went in search of 5\/8″ wide linen strips, ribbon, whatever they might be called.\u00a0 Things on Amazon tended toward craft applications so they were colorful with frayed edges.\u00a0 It was also proving difficult to find material that was 100% linen, there was usually a small percentage of polyester.\u00a0 After more digging I was able to find what I was looking for at a bookbinding supply house, in the guise of bookbinding tapes: 5\/8″ wide, nicely bound, natural color and 100% linen.\u00a0 Inexpensive and quick delivery, was very excited when I got them, they have a great vibe.<\/span>
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Installation was the next step to figure out.\u00a0 These are glued on, so they would need to be soaked in glue and then put in place while minimizing the mess.\u00a0 Thinking this over I decided to try masking off the areas, soaked a strip in hot hide glue and put in place.\u00a0 I was able to place it and then kind of rub it into place, squeezing the glue through the linen and into the joint, and this worked much better than I had expected.<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Strips masked off, test fitting unglued strip<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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First try - soaked in hide glue and pressed in place<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Clean installation - surprising! <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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RInse and repeat<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Kerfing<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Installing the kerfing should not be a big deal, but hot hide glue makes it exciting and I have another idea that may make it an adventure.<\/p>

The linen strips are about 1\/64″ thick, so if I glue the kerfing over it I’m going to have a small gap on either side of the linen unless I create a dado in the kerfing.\u00a0 Most of this discussion around the reinforcing strips, and all guitar construction actually,\u00a0 is about joint integrity.\u00a0 The idea being that solid joints doing a better job at transmitting sound than joints with gaps.\u00a0 Again, sounds logical.\u00a0<\/p>

So to eliminate this miniscule gap, I need to create four 1\/64″ x 5\/8″ channels in each kerfing strip.\u00a0 Which doesn’t sound so bad until I try to do it.\u00a0 To start with, the kerfing strips are fairly fragile due to all the slots cut in them.\u00a0 Not so bad, but then they get wetted down and pre-bent to conform to the shape of the body.\u00a0 And the only way to mark where the dadoes need to go is if I can fit them to the body.\u00a0 So I tried one and thought, “this is ridiculous”.<\/p>

But here at the Long Spoon Guitar Company we relish a challenge, however ridiculous it might be.\u00a0\u00a0 So after a few minutes I had the idea of using the bending mold as a support, and then realized that with some maneuvering I could also get a clamp on it, so now I had a fighting chance.\u00a0 A little Zona saw plus sharp chisel and voila!\u00a0 Reinforcing strip dado. C’est magnifique!<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Can you even see this? <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Another angle might help...?<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Fitting these wasn’t actually that bad after I got the system down, but I did sacrifice one to the cause. \u00a0<\/p>

So after cutting 16 of these notches its time to put them in.\u00a0 Heat the glue and get the clothespins!<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Heat on, glue hot and clothespins ready<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Second one on<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Okay, so this wasn’t a totally smooth process.\u00a0 One or two broken kerfing pieces, one aborted installation attempt, and few other minor mishaps.\u00a0 I will make some adjustments to this process moving forward, including an upgrade to the ‘clothespin with rubber band’ clamps.\u00a0 But eventually I got the kerfing in…\"\"<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The back<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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First step on the back is to get the pieces down to around 3mm thick.\u00a0 They start around 4.5 mm and the sander moves pretty slowly and doesn’t take big cuts, so this takes a few sessions.\u00a0 But we get there. <\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Before sanding...<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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...and after<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Now I need to get rid of that gap between the two pieces so we have a good joint for the glue-up.\u00a0 And how do we make that joint?\u00a0 Glad you asked….<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Tool Story - Stanley #6<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Another tool rescue!\u00a0 \u00a0This one popped up locally and I was lucky enough to be the first one to see it.\u00a0 It’s a Stanley-Bailey #6, a bit of a tweener plane but it has the low front knob that indicates an early date, and was $15 so I just grabbed it without asking a lot of questions.\u00a0 The #5 is sort of the all-purpose plane, and the #7 is the standard jointer plane, so the #6 is not as well known, but I was looking for something a little longer for shooting the back and top joints so thought I would give this one a shot.\u00a0 It turns out to be a Type 11 so dates between 1910 and 1918, pretty cool.<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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These are fun to clean up.   There was pretty good surface rust on everything, but fortunately nothing serious on the body or the blade.
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On the way home. Rusty, typical broken tote<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Lower corner of the cap is missing...<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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...and there's not a lot of blade left<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Broken down for cleanup<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Some time with the wire wheel and things start to look a lot better.<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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About to hit the wire wheel<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Very satisfying<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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...after! <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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The frog<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Cleaned up and dressed surfaces<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Sad hardware \ud83d\ude41<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Happy hardware! <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Now we get to the tote (rear handle). I don’t remember the one on the #5 being a big deal but this one was a bit of a bear, because I couldn’t find the router bit I had used. \u00a0 The trick to these is that you need a 1\/2″ cove flush cut router bit without<\/span> the bearing.\u00a0 Not sure that they make them that way any more but I happen to have one.\u00a0 \u00a0But before that we need a blank.\u00a0<\/p>

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Raiding my wife's walnut stash again<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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A careful resaw willl give me two blanks (and if you have an extra Walker-Turner bandsaw fence let me know)<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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It's a funky process but it works<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Rough outline<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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First pass through the router<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Sanded and ready for shellac<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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There was so much of the japanning missing on the body that I toyed with the idea of doing a full bore restoration on this one –\u00a0 meaning new blade and cap iron, stripping and painting the body and frog, etc….but after cleaning the body I really liked the look of the bare cast iron, so I decided to hit it with paste wax and I liked that even more.\u00a0 \u00a0And since the objective was a tool to shoot edges with and not a museum piece, I waxed practical moved forward.\u00a0<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Paste wax test - on the right of the \"No6\"<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Following the waxing and shellacking I turned to sharpening the iron.\u00a0 There’s not a lot of blade left and as I started to flatten the back it became apparent that someone had used it as a pry bar at some point.\u00a0 \u00a0I was able to get some of the lumps out and then get most of the back flat via diamond stones.\u00a0 As much as people like newer blades I’ve always found that these original Stanley blades take a nice edge.\u00a0<\/span><\/p>

After sharpening the blade I ran the sole and sides over some abrasive plates and got things looking fairly flat and shiny.\u00a0 Then assembly and we’re done!\u00a0<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Flat on it's back<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Sole searching <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Back together<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Ready for the next 100 years<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Shooting the back Joint<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Now we can finally get to joining the back, sheesh!\u00a0\u00a0<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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So, before the plane interlude we were looking at closing the gap between the two plates, below:<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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This is the basic “shooting plane” setup.\u00a0 The idea is to plane the edges perfectly straight so that you get an invisible joint.<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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I was able to get very<\/em> close with the plane but still had some convexity, so I rigged up a long, square sanding block and in a few passes was able to get it.\u00a0\u00a0<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The test is holding it up to the light, looks good so far.\u00a0<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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And now for something Completely different...<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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At this juncture, in a fit of enthusiasm, it seemed like the right time to run power to the shop area of the basement.\u00a0 I did the original framing and wiring in the basement so in my head this was about a 15 minute job…naturally it consumed 3 weekends and many weeknights.\u00a0 But I was tired of running (and tripping over) extension cords so, no time like the present!\u00a0 \u00a0Pro Tip:\u00a0 If you ever finish a basement, don’t finish the ceiling.\u00a0 Lots of goodies up there that you might need to find later.\u00a0<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Okay, we’re up and running.\u00a0 Now back to our regularly scheduled program….<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Shooting the back Joint...Again <\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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You might remember that I had fitted the back joint and was ready to glue it up…but when I checked the joint it was no longer seamless… So apparently 4 weeks is a long time for two pieces of wood to remain in perfect harmony.\u00a0 Not sure what happened, they seemed to be such a good match!\u00a0 Maybe the mahogany started looking good, maybe they just got bored, who knows, but they moved apart!\u00a0 \u00a0And so, I had to sit them down and remind them that they need to stay together, think of the sides, think of the top – they need stability!\u00a0 <\/span>\u00a0\u00a0<\/span><\/p>

So I re-fitted the joint.\u00a0 Nothing wrong with some extra practice.\u00a0<\/span><\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Gluing The Back <\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Now that we’ve got these two crazy kids back together its time to seal the deal!\u00a0 \u00a0I’m using the tape technique again, this time with measurements and duct tape which is a pretty significant process improvement.\u00a0<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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I took measurements this time! 2\" from the seam, 3\/4\" duct tape, 3-1\/2\" raise<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Realized afterward this is a perfect job for the Go-bar deck, will use it on the top joint<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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After the glue-up, ready for sanding<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Things get interesting when the wood is this thin, so I'm creating a support. 3\/4\" plywood sanded flat works well. <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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If things slip at this point its not good, so 220 sandpaper added to the platten for traction<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Getting close, switching from 80 grit to 120 (note the beautiful outets in the background - nice, huh? Pay no attention to those holes in the ceiling) <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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So there we have it, about 2.5 mm give or take<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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At this point you need to figure out the orientation of the back, usually pretty self-evident due to the grain pattern.\u00a0\u00a0<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Also inside vs. outside.\u00a0 The “O” (for outside) in the corners reminds me what’s what.\u00a0<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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One of the challenges moving forward from this point is locating the joint, which is the center line of the back.\u00a0 If you’ve done a good job it will be very difficult to find, and you need to know where this is so you can line things up for assembly.\u00a0 \u00a0Before cutting the shape out, the slight misalignment of the edges of the boards shows you where the seam is, but once it’s cut out that reference is gone.\u00a0 \u00a0The trusty pencil line is not the greatest solution because it gets covered by the center reinforcing strip on the inside and sanded on the outside, so I was always fighting to find it or re-establish it on my OM.\u00a0 After some cogitation I decided to drill a small hole through the joint just outside the pattern on both ends, which is proving to be a good process improvement.\u00a0<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Hole just outside the pattern marking the center line<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Roughed out<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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The reinforcement strip is next.\u00a0 Cross grain sitka cut from the waste from top wood.\u00a0 It starts out about 3\/16″ thick and is planed down after gluing to about 1\/16″ and then rounded over by taking the edges down to about 1\/32″.\u00a0<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Prep<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Gluing <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Dry<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Planing down to 1\/16\"<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Rolling the edges<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Ready for braces<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Below you can see the wonderful variety of nature.\u00a0 This brace material is hand split so that it follows the natural grain direction of the wood.\u00a0\u00a0 Even so, on the left you can see how its not quite straight, and on the right how its not quite perpendicular (on the quarter).\u00a0\u00a0 So I adjust, if possible, where I can. <\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Will try to pattern the waviness out<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Adjusting grain to perpendicular <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Lower braces cut<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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NASA precision<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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All braces roughed out <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Layout <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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First notch<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Second and third<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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The next step is sanding the braces to the radius of the back on the radius dish.\u00a0 So I mark off the approximate brace locations on the disc and whack away.\u00a0 The lower braces are tricky to hold while sanding, so after I sand a few fingertips off I come up with a better idea and attach them to a holder with double-sided tape.\u00a0 In addition to saving my nails, this provides the added benefits of even pressure across the whole brace and gives you a way to keep the brace perpendicular while sanding, both of which should help the fit.<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The lower braces are tricky to hold by hand and its hard to maintain even pressure<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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\"Holder\" attached with double-sided tape - much better<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Dry fitting <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Getting set up in the Go-Bar deck, the blocks are for alignment<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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FIrst one glued<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Next two in <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Setup for the last one<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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All glued<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Now we get to shaping the braces.\u00a0 At this point they’re to width but oversized in height.\u00a0<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Ready to shape the braces<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Peaking brace 1, protecting the reinforcement strip<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Interesting to be doing this a second time.\u00a0 There is a lot of mystery and lore around this process, more so for the top than the back, but similar things are happening.\u00a0\u00a0 As you shape the braces you hold and tap the back in order to “listen” to it and get an idea of how it sounds. On my OM the back was pretty stiff at this stage, meaning it wasn’t very resonant; as you remove wood this improves and then you have to decide where to stop.\u00a0 This back is sounding better at this stage than the OM did…of course the Dred is larger but not by very much so I’m finding this interesting.\u00a0 <\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Working on the tapers<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Paring the ends down to 2.5 mm<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Doing final smoothing on braces is tricky because you want to avoid damaging anything in the vicinity.\u00a0\u00a0 As I was navigating\u00a0 this I decided to makes some simple sanding forms and was very happy to have their assistance.\u00a0 Below is the assortment for the top radius of braces 3 and 4 and the end tapers. <\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Taper in process on #3<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Getting close<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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to the Top <\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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With the back and rims under control, we move our attention to the top.\u00a0\u00a0 For this build I’m using a Sitka Spruce top with “bearclaw” figure.\u00a0 Bearclaw spruce is somewhat controversial in that it was originally rejected for sound boards because the unusual grain pattern was perceived to be a defect.\u00a0 Over time some people now believe that the figure adds to the stiffness of the board, making it superior to straight grain.\u00a0 Another wonderful debate with no definitive answer!\u00a0 But it IS visually striking which I happen to really like \u00a0 It will be tricky to see the figure before it gets finished but I’ll try to show it in the pics.<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The pieces are book matched at the mill, they use the red crayon “V” to keep things organized.\u00a0 I’m still fairly new to this so I still get blown away by the general appearance of the wood, but after that passes you have to take a really close look at things so that you can spot any issues that you might have to deal with.\u00a0 Blemishes, pitch pockets or just odd grain are things to look for and will help determine which side is out and which is in.\u00a0 <\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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After the basic orientation has been determined and I’m feeling good about the top its time to join the two pieces.\u00a0\u00a0 This step is about getting the best joint that you can, and you know its good when it disappears.\u00a0 This is a hand operation with a shooting board and a long plane.\u00a0 It can take some patience but its not bad, and a little fine tuning with a long sanding block built for the purpose can work wonders.<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Checking the grain with mineral spirits<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Jointing the edges<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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After I’ve got a good joint its time to glue the two pieces.\u00a0\u00a0 I tried the tape method but wasn’t happy with the result.\u00a0 As it turned out I tried this 3 or 4 times because I wasn’t liking the joint, but in the end figured out that what I thought was a gap was actually an optical illusion provided by the grain.\u00a0 The challenge with the tape method is that it relies on the spring in the tape to provide the clamping pressure, which works but feels a little odd when you’ve been applying serious clamping pressure to glue joints all your life, so I used I different method where I could bring some wedges into play.\u00a0 This worked well but I’ll eventually create a jig for this, its kind of ridiculous to have to fiddle around with it so much!\u00a0<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Tape method...<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Wedges and Weights<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Now that the top is together it’s time to figure out the inside and outside, top and bottom.\u00a0 Using a clear pattern showing the location of the soundhole and bridge is very helpful at this point.\u00a0 As you can see below this top has some great figure and also a “wave” that runs across it.\u00a0 After playing around with the location of the pattern I decided to place the bridge over it, partially to hide it and partially because something tells me this might be a good spot for the bridge because the grain will be tight and should provide good energy transfer…maybe…?\u00a0 Also it kind of looks like a sound wave so what better spot for the bridge?\u00a0 Case closed.\u00a0\u00a0 <\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Glued. In the middle of the piece is a wavy piece of grain...<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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...easier to see in this pic<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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...and with some mineral spirits it really jumps! <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Looks like a good spot for the bridge...<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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With the layout set, it’s time to do the rosette<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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On the OM I learned some things about routing the rosette channels, one of which was that my used Bosch Colt needed new bearings.\u00a0 I was also not very excited about the fine depth adjustment on it, so I asked my Luthier friend Diane about it and she recommended the Ridgid palm router.\u00a0\u00a0 She’s one of those people that keeps trying things until they find what they’re after, so I take her recommendations seriously, and Santa did too.<\/p>

A new router means a new adapter plate, but fortunately the bolt pattern on this one fits inside the outlines of the jig, so I just had to drill new holes for it instead of making a separate plate.<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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New router - yay<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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New holes for new router<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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The layout on this one was a little tricky.\u00a0 The sound hole is 4″ in diameter vs. 3-7\/8″ on the OM, but the shell is the same inside diameter of 125mm and I’m using 5mm width instead of the 3mm on the OM.\u00a0 So there is less room between the shell and the sound hole which makes things a bit tighter, and then of course you need to be sure that the fretboard covers the joint of the inside ring.\u00a0 Below you can see my practice cuts.\u00a0 <\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\"\"\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Practice cuts<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Okay. After several deep breaths and centering exercises and we’re ready to go.<\/p>

Here’s the setup.\u00a0 The jig rotates on the 3\/16″ guide pin, so we drill a 3\/16″ hole in the top and also the support board beneath, with a drill press so everything is perpindicular.\u00a0 The router is oriented so that in this position I can see the cutter – this\u00a0 makes adjusting much easier, lesson learned from last time.\u00a0 Its sitting in the area of the rosette that will be covered by the end of the fret board, so this is where you start the cuts and check things before taking the full plunge.<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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First cuts for the shell and test fit<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Purfling cuts added. Slightly deeper cuts which actually helps align things during the gluing process<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Outer rings cut<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Test fit<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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There is a brief interlude here in which I miscalculate the amount of purfling needed for this step and need to re-order.\u00a0\u00a0 This is a rookie mistake – the issue being that I’ve cut these channels for the stock that I have, and its highly likely that the new stock I get will be slightly different in size…and it is.\u00a0\u00a0 Not by much, and fortunately its a bit large, but it still requires some finessing to get the new stuff to fit.\u00a0\u00a0<\/p>

As I start to fit the shell I wonder if there are patterns or groupings that might help in the process.\u00a0 This shell is multi colored and while each piece is different, there are some patterns and colors that emerge.\u00a0 I decide to put the more blue pieces at the bottom of the circle and graduate towards green and then yellow-green at the fret board.\u00a0 Not sure if it looks better but it seems worthwhile to put some additional thought into how to use this amazing material.\u00a0<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Inner purfling fitted<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Sorting the shell<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Shell glued<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Outer purfling glued in <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Sanding flush...gently <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Sanded flush with 220 <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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The next step is to thickness the top.\u00a0 The goal here is to get it thin but not too thin, we’re talking Goldilocks territory here, we want it juuust right.\u00a0 I’m doing this by a combination of measurements, sound, and Kentucky windage.\u00a0 Recommended thicknesses vary but are in a range, from about 3.2 mm to 2.5 mm.\u00a0 Robbie O’Brien uses what he calls a “flop test”, holding the sound board my its edges, sort of snapping it, and listening to the sound, which is kind of a sheet metal, oil-canning sound, getting deeper and more resonant as you go thinner.\u00a0 I’m starting at about 3.0 which is already in the ballpark, and since this is my second time around and first dreadnought, I’m checking all the bases as I go.\u00a0 My initial flop tests are still a bit stiff so I start taking passes on the thickness sander – last time I used a plane for this step but the bear claw figure make this too dicey – I did a test on a corner and decided discretion would be the better part of valor in this case.\u00a0\u00a0<\/p>

So for the next hour or so I’m sanding, tapping, flopping and checking.\u00a0<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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On the sanding platten<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Creeping up on it<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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I start getting down to the 2.7 mm range so I’m kind of on the thinner side of the average at this point.\u00a0 The flop test is still seeming less than optimal but I’m reluctant to pursue that by itself.\u00a0 It feels like the bear claw is making the top stiffer at a given thickness, but I’m dealing with a larger top and higher string tension (longer scale) than the OM, and Dred tops are theoretically thicker than OM tops for this reason.\u00a0 \u00a0I take it a little further on the sander and then take some passes with my scraper plane.\u00a0 The scraper plane makes a marked difference in the flop test and gets me to about 2.60-2.65.\u00a0 There will still be material removed with finish sanding, so all things considered I decide to stop there.\u00a0\u00a0<\/p>

Then I set up the router for cutting the sound hole, take a few test passes and do the deed.<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Test cuts, dialing in the 4\" diamter<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Now for the front<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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First pass on the back side<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Looky there! <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Bracing the Top <\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Another top, another Martin legend.\u00a0 On this guitar I was all set to follow the StewMac “Herringbone” plan until I bumped into a tracing of a 1937 Martin D-28 top bracing pattern by John Arnold.\u00a0 This is the original bracing pattern used by Martin on the Dreadnought.\u00a0 It was changed in 1938-39, due to the undesirable number of warranty repairs that were coming back to the company, by moving the X braces toward the bridge by about an inch.\u00a0 \u00a0So the original pattern has become known at the\u00a0 “forward shifted” bracing pattern.\u00a0 The intersection of the X-braces is closer to the sound hole but there are also some other interesting differences.\u00a0 The changes were made for durability, same issues as with the OM, but moving the X-braces back reduces the primary resonant area of the top and creates a mystique around the sound and tone of the pre-war guitars.\u00a0 \u00a0A quick check on Carter’s Vintage Guitars shows that the pre-war bracing was robust enough to allow several examples to survive, and that the cognoscenti are quite keen on this version:\u00a0<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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In the images below you can compare the two patterns.\u00a0 The thing that people talk about is the location of the X-braces but in the original there is\u00a0 much less structure above the X-braces, different placement of the tone bars, and the original bridge plate design seems to have more ability to rotate…which seems like it could be good or bad!\u00a0 \u00a0I’m still new to this but that’s a lot of structural differences so I checked with John Hall (Blues Creek Guitars) and he said, “build it to John Arnold’s tracing”.\u00a0 Which is pretty cool.<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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1937 tracing left, StewMac plan right<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Forward\/original bracing in gray, modern style in red<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Transferring the tracing to a pattern that I can use is the next step.\u00a0 I use a large format bristol board with a 1\/2″ grid to lay it out.\u00a0 I chase my tail for a bit but on the second try – well…the 2nd sheet after many 1st tries on the first one – I nail it down.\u00a0 If you’re trying this at home I can save you some erasing by advising that you use the top edge of the guitar as your reference point (the location of the 14th fret) and proceed from there.\u00a0 A nod’s as good as a wink to a blind bat.\u00a0\u00a0<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Several erasures into the first try...<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Starting over<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Got it<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Next, cut it out and transfer to the top.<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Connect the dots<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Dots connected<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Now we need the braces.\u00a0 All of the braces on the guitar should be as straight-grained and quartersawn as possible, but the braces on the top get priority, so I saved the piece with the best quarter and tightest grain for the X-braces, tone bars and finger braces.<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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3 options, tightest grain on the left<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Thanks Mother Nature! <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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With the width set I can start the shaping and fitting process.\u00a0 The first step is the X brace joint, and the first step there is to radius the pieces on the radius dish.\u00a0 I stick them together with double sided tape, then rough them out and start the process by hand.\u00a0 After sanding off my knuckles I remember my hack and grab the piece from my scrap box that I used as a “holder” on the OM.\u00a0 \u00a0This is a much better process, not only because it spares your knuckles but because there is even pressure as you sand so you get a true radius.\u00a0<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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With the lower side radiused I can start on the X joint.\u00a0 This is a cross half lap joint, or something like that.\u00a0 You want this to be a good joint and also of course follow the angle.\u00a0 The compressability of the spruce provides some wiggle room but not a lot.\u00a0<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Test fitting the radius<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Marking out for the joint <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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First cut on the bottom brace<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Imagine lots of small cuts, filing and fitting to get here<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Once I got the joint where I wanted it I took it the assembly back to the radius dish.\u00a0 I should have taken some pics because its hard to explain, but once you get the joint fitted, the surfaces of the braces that mate to the top might no longer be square to the surface, and probably won’t be because they’re now oriented differently on the radius dish.\u00a0 Its awkward to sand and if I do any more of these I’ll make a fixture to make it easier.\u00a0 But the results are worth it.<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Chalking the surfaces makes it easier to see where your are<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Guitar Build #2 – Dreadnought As long as the first one worked out, I was always thinking that the second one would be for my son.\u00a0 He’s interested in a Dreadnought so once again we head to the Martin archives.\u00a0 This is the iconic design that people typically associate with acoustic guitars.\u00a0 Strangely enough, Martin […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"nf_dc_page":"","om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"site-sidebar-layout":"no-sidebar","site-content-layout":"page-builder","ast-site-content-layout":"full-width-container","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"disabled","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"folder":[],"class_list":["post-7547","page","type-page","status-publish","hentry"],"aioseo_notices":[],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/longspooncanoeclub.com\/index.php?rest_route=\/wp\/v2\/pages\/7547","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/longspooncanoeclub.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/longspooncanoeclub.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/longspooncanoeclub.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/longspooncanoeclub.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=7547"}],"version-history":[{"count":5,"href":"https:\/\/longspooncanoeclub.com\/index.php?rest_route=\/wp\/v2\/pages\/7547\/revisions"}],"predecessor-version":[{"id":10154,"href":"https:\/\/longspooncanoeclub.com\/index.php?rest_route=\/wp\/v2\/pages\/7547\/revisions\/10154"}],"wp:attachment":[{"href":"https:\/\/longspooncanoeclub.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=7547"}],"wp:term":[{"taxonomy":"folder","embeddable":true,"href":"https:\/\/longspooncanoeclub.com\/index.php?rest_route=%2Fwp%2Fv2%2Ffolder&post=7547"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}