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This also prepares for glue, as freshly planed or sanded surfaces accept glue better.Īll to get ready for the kerf lining. Starting with glue remnants around the tail block. I was shooting for a final dimension of 4.5" at the tail and 3.75" at the neck block for a 3/4" taper back to front (Finished guitar, taking into account the top and back thickness). It's the time to take the sides to their final dimensions. So sanding the rim is a bit more than just exposing fresh wood. Now I just sand, sand, sand, until I see fresh wood all around. With the exception of the neck block angle (I forgot to cut approximate angle for the top), the result is pretty darn close. With my scribe line drawn, I plane to the line. The solution is to scribe it as it sits in the radius dish. When you're looking at a straight piece of wood, your cut line gets a little funky. To make things interesting, there is a 28' radius in the top, a 16' radius in the back, the guitar body curves through the depths of the radius and the depth of the guitar tapers down 3/4" from tail to neck.
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1960 WURLITZER PIANO VALUE HOW TO
I learned this trick when trying to get an idea of how to rough cut the profile for this brand-new body shape.
1960 WURLITZER PIANO VALUE CRACK
When you're talking about several hundreds of dollars for a guitar back and side set, you don't want to crack now after you made it through the bending process OK! It can be scary, as you can crack a side (at least it sounds like you could). There are many points of contact and a couple inches of. Using a 1/2"-3 tpi resaw blade doesn't create the smoothest cut (I was too lazy to change the blade). Usually, the first bit of sanding can induce quite a bit of chatter as the sides have been rough cut to the profile on the band saw before bending. Before bringing it to the sandpaper, I thought I would try something different this time. The rim is locked into the mold and the appropriate radius dish with the sandpaper is used to make the spherical cut. Now that the neck and tail blocks are in, the next thing is to sand the radiuses (or radii, if you're Latin) into the rim on the top and back. I had my laptop with me and pieced together some letter-sized prints. I design all of my guitars in Adobe Illustrator at full-scale so that I can print sections out for templates and patterns. Otherwise, it was good, old-growth quartersawn spruce. The soundboard had a few cracks in it, which I had to work around. I had to go to the local Woodcraft to buy a saw to get to my parts. The soundboard and harp are off! The harp is still attached by all of the string pins which are threaded into the hard maple pin block. So, here we go!! (Warning - there will be a lot of photos!) It was the perfect project to get me back into it and a perfect way for my Mom to keep a bit of the piano that she's had since her Sophomore year in high school. The back and sides are some walnut that I've had stashed since I stopped building. The entire soundboard and braces are coming from the Wurlitzer. This journal is my way back into guitar building after 6 years. I told my Mom that I wanted a crack at it to salvage some potential guitar parts and proceeded to deconstruct it. Another piece was her 1960 Wurlitzer piano that was deemed untunable, unfixable, un-give-away-able! It was just DONE! I was back in Chicago when she asked to help break down some big, old pieces of furniture to throw out and prepare for the move. My Mom was moving out of our family home of 35 years in the Chicago suburbs. Getting my shop set up again, I was looking to get back into building guitars after a 6-year break. In 2009 I was laid off and ended up moving to Utah to be with friends and some work. I spent the next 6 years focusing on guitars. Well, 18 months later, that first guitar emerged and I was hooked. In order to make things easier on myself ( ) , I opted to go against the grain and build an acoustic guitar of my own design, from scratch, and build all of the jigs myself.