Start by stocking up on rubber gloves, Q-tips, and lighter fluid.


Swab lighter fluid along the edge of the pickguard to soften the glue.


Find the sharpest corner of the pickguard and start lifting it with the point of a utility knife.

Keep swabbing in lighter fluid while you lift.

Once the edge is released enough, you can use tweezers and your fingers to pull the pickguard back.

Keep swabbing in lighter fluid while you lift.




With the guard removed, all that’s left is cleanup with lighter fluid and a paper towel.

First, I cut out two rectangular pieces of 3/8″ Polycarbonate on the bandsaw, and clamped them together.

Two perfectly vertical 7/32″ holes were drilled near the ends to hold the 1/4″ threaded rod that will be used for depth of cut adjustment.

The holes on the bottom section are 1/4″-20 tapped, and the top section holes are drilled out to 15/64″.

A 1/16″ center pilot hole was drilled. Then chased with a 1 1/4″ forstner bit on the bottom section.

An offset center 13/32″ hole was drilled in the top section, and was 3/4″ tapped to accept the 3/4″ Dremel tools threaded end. The location of the hole is not crucial, but the idea is to have the Dremel bits align close to the back edge of the bottom section hole for greater visibility of the cut.


I rounded the top edges of the top and bottom sections for comfort and looks.

After cutting two short lengths of 1/4″-20 treaded rod, and grinding the ends smooth on the beltsander, I glued the rods into the bottom sections threaded holes with Cyanoacrylate.


I purchased the cast Iron wing nuts from Lee Valley Tools. I use them for a few of the other jigs I make, so I always have some around. They are used to adjust the top section height and the Dremel bits depth of cut. §

keywords: dremel, base, wingnut, wing-nut, bases, Inlay, inlayed, inlays, shell, saw, guitar, guitars, maker, guitarmaker, luthier, bit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

After the center is nice and flat, I chase the edges of the mortise in a anti-clockwise motion making fine cuts.


I’m proud to say that not one of my inlays have fallen perfectly into place without a little tweaking of the mortice.

Most of the inlay fits, but there’s always a little corner somewhere that didn’t get fully cut.

For final fitting, place the inlay over the mortise, and align it as best as possible.

Hold it in place, trace around it again.

Remove the inlay section and trim the areas where the pencil shows up.


The inlay should fit snug, but not tight. Too tight and the glue might not full penetrate, or the inlay might break during installation.


After the inlay is seated to my liking, I sprinkle it with large and small particle sawdust (salvaged from the object being inlayed), and rub the dust into any gaps or fine lines. Do not pack the sawdust.


I then flood the inlay and surrounding area with Cyanoacrylate.


After a few hours of drying, the inlay can be sanded down flush.

If any small gaps or pin holes are discovered, they can be re-glued with sawdust.


Once the inlay is sanded flat, I coat it with shellac to seal it and prepare it for finish.

§

Hold the saw blade perfectly vertical as you saw. This will make the edges of your inlay square, easier to fit to other inlay sections, and easier to inlay.

I cut the printed line in half with the saw blade, leaving the half of the line bordering the inlay section. This way any intersecting inlay pieces with fit perfectly together.

When you come to a sharp point or fine line in an inlay section:
• cut to the end of the point, back the blade out (keeping the blade vertical)
• make a right angle cut in the waste area of the inlay blank
• turn the blade around (moving the saw up and down as you turn to keep it from binding and breaking)
• back the blade into the fine point
• exit the point and continue cutting the rest of the section out

Continue cutting out all of the sections and assemble them, face down on the reverse image assembly table with a drop of Cyanoacrylate.






§

I tape the sheets to a granite surface plate to make my assembly table.





Each section of the inlay must be cut out with a knife, and assigned a piece of shell (or other inlay material) to be glued to. Choosing the appropriate inlay material, is just as important as the inlay design.


This section of shell was chosen because the natural arc of the shell grain matches the tree frogs upper lip.

I glue the sections on with Cyanoacrylate (Super Glue). Contact cement works better, though it has deadly fumes, and requires a little brush.


After all of the sections have been glued up, the sawing can begin.


I use a cutting board (by Dave Nichols) clamped to my bench, and a piano stool as my workstation.


A jewelers saw, 3/0 saw blades (from Rio Grande Jewelry supply), and some Nicholson needle files, are my main tools.§

My goal at this point is to clean up the look of the drawing, and emulate what the final inlay will look like.


All of these steps can be done on paper, but I prefer “undo”ing to erasers. If you’re a fan of analog, simply substitute “layers” for tracing paper, and “printing” to photocopying.


After creating a new layer in Photoshop, I start to redraw the inlay sections. This will be a high contrast inlay so there are a lot of shadows and highlights.

§

The Guitarmaker Symposium will run from May 24th through to May 27th.

A.S.I.A. hosts a Symposium twice a year that allows guitar makers, repair technicians, and players to connect and share knowledge and information.

The association is best known for its quarterly Guitarmaker journal.§

keywords: asia, A.S.I.A., Guitarmaker, guitar, guitars, maker, guitarmaker, luthier, repair, show, symposium, event, events, guitarmaking, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

As with all ideas, the only true test of a great one is time. Since 1984, Linda, as well as countless adopters of her design have used the Wedge©™ extensively in their instruments.

Some of the adopters are: David Berkowitz, Mark Blanchard, Charles Fox (Berkowitz inspired “ergo”), William Cumpiano, Andrew Ellis, Martin Guitars, Dennis Scannell, and many more.§

By Alastair Miller ·
A common occurrence in the electric guitar world is to throw out an old patch cord when it stops working, and then go out and spend $20 on a new one. If you’ve got five minutes and a soldering iron you can save that $20 for something special, and in the case of this super cool old telephone cord style patch, a fix is a must!


It took no time to spot the culprit. As you can see, the white wire has broken away from the solder joint.


I started by de-soldering the joints so i could expose fresh wire to make new joints.



Once apart i can strip back the wire enclosure to expose enough wire to get a good joint.



Next cover the end of the wire with solder.


Lastly solder the wires back to the point you took them out from and screw it back together, and your left with a good as new patch.


Five minutes work and my patch is good as new.§

keywords: Patchcord, Patch, Cord, electricguitar, electric, solder, soldering, broken, repair, fix, wires, wire, cable 1/4″, guitar, guitars, maker, guitarmaker, luthier, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Flush cut the top and back to the sides with a hand held router, or a binding jig.



You can set your binding jig to cut into the side slightly to aid sanding and flattening.



Move your hand along the surface of the sides, and mark any bumps or flat spots with a colored pencil.



Sand out all bumps and flat spots in the sides, and flatten the edges of the top and back with a cork faced sanding block. Use a dowel or curved block for the waist.



When the body is perfect you can route for binding and purfling. (Note: Featured in this picture is one of the few original guitar Trojy’s, built by Jean Larrivée in his old Toronto shop).§

keywords: bind, binding, bound, purfle, purfling, veneer, sand, trojy, router, jig, fixture, bindingjig, flat, flatten, level, top, back, sides, Larrivée, Larrivee, guitar, guitars, maker, guitarmaker, luthier, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Start by taping your prepared binding strips together. Tape as many strips as you need, or feel comfortable bending.



The strips should be oriented in pairs, with their purfling strips touching. This will insure that you have strips for both the top and back of your guitar.



Mark the end joints and waist of your shape. You can make a tape template using your mold or guitar. Attach the tape template to the edge of your bench or another piece of tape for future use.



Set up your bending iron, and bring it up to the desired temperature. I have no idea what temperature that is, but it is hot. Water should bead and bounce off the pipe when its hot enough.



Wet both sides of the area you wish to bend. Use water in moderation, as too much can cause the purfling to delaminate.



Start bending in a rocking and/or sliding motion. It is important to keep the strips moving. This will keep the binding from burning, the purfling from distorting, and bumps from forming. (Note: while not necessary to use a calculator watch, it does makes a fine addition to a guitarmakers arsenal)



Add water to new areas as you bend.



When you get to the waist, center your registration mark on the hot iron.



Using a slow rocking motion bend the waist area, heating the side thoroughly.



Check the bend on your mold or guitar.



Make adjustments as needed. The binding waist should be bent slightly more than that of the guitar.



Once it fits, allow the waist area to cool.



Some woods will have a tendency to crack and/or splinter. These areas can be glued and cleaned up after the bending is complete.



Continue bending the rest of the shape.



The binding does not have to be bent to the guitar shape exactly. The thin strips will conform to the shape when you glue them on, as long as all of your bends are graceful, and without bumps or flat spots.§

keywords: bend, bending, bent, bender, iron, mold, heat, hot, bind, binding, bound, purfle, purfling, veneer, guitar, guitars, maker, guitarmaker, luthier, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

By Alastair Miller ·

Some of the more exotic tonewoods require a little bit of prep work before they’re fit to build an instrument out of, like this african blackwood that came complete with wormholes and sap pockets.

The first thing to do, is pick out any old dried up sap and mineral deposits with a small chisel and or pin.

Next is to fill the voids with wood dust. On this blackwood, I used some ebony dust that I had handy. Use my small chisel to scoop up the dust, and fill any spots that need it. Don’t pack it too tight or the cyanoacrylate glue (super glue) won’t be able to penetrate all the way through.

If you’ve got wormholes that go right through the piece, be sure to put masking tape on one side so you don’t glue the piece to your bench.

Next, take a toothpick and dull one end so you can hold a drop of glue on the end of it, and apply glue to the suspect areas.

…Then sit back and wait for the glue to dry. Using an accelerator to speed the drying time may cause the glue to bubble and leave voids, so use with caution or not at all.

Once the glue has dried, you can remove any excess from the piece with a scraper. If there are any voids remaining, repeat the same steps.§

keywords: glue, gluing, glued, worm, wormhole, wormholes, sap, resin, guitar, guitar, maker, guitarmaker, luthier, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

By Sergei de Jonge ·

Photo #1 shows two or three anonymous tops sitting on the bench beside the jointer plane. Any good plane #6 or larger is fine for joining a top. I prefer a #7 or #8 over a #6. I use the plane sideways on the bench to shoot the joint. No special jig is necessary.


Photo #2 shows Alan starting to shoot the joint on both halves of the top that he is joining. The reason I use tops (or backs) as a support for the top I want to join is because I’ve always got tops and backs kicking around and, once I’ve got my plane sharp I can start at the bottom of the blade to shoot joints by putting just two or three slices on the bench. Then I can go up in increments as the plane blade gets dull. This way I only have to sharpen my blade every 4 to 6 months.

Photo #3 shows Alan taking a pass just in the middle of the top, starting about 3 or 4 inches from the end and not shooting all the way to the other end. This is so that the ends of the top will be nice and tight. If you just keep shooting the plane all the way along the top on each pass, the ends will be open. After 1 or 2 passes in the middle we can take a couple of passes all the way–then check the joint.

Photos #4 and #5 show Alan checking the joint, first on a flat surface, and then against the light. The final check is on the joining board. If it’s good we’ll glue it.§

keywords: joint, join, joined, joining, joints, top, tops, backs, back, plane, luthier, luthiers, guitar, maker, builder, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

By Alastair Miller ·

Here’s my absolutely beautiful home made caliper’s….. well they might not be the prettiest, but they do a swell job of measuring my tops and backs. They were an awful lot cheaper than buying a pair from your local luthier supply, and these ones come with a handy conversion chart.

I started this one with a chunk of 5/8″ thick aluminum, a $15.00 dial indicator, and a thumb lever for the dial that the hardware store salesman gave me for next to nothing.

I had to slightly modify the thumb lever, as the opening was too small for my dial. With a small file and a little patience – I had a perfect match.

I cut the aluminum billet on the bandsaw, and finished up with a couple of files and some sandpaper.

Once I had the shape shape cut out, I drilled a hole at the top just big enough for the dial caliper to slip into, and another hole in the bottom to be threaded for a 1/4″/20 bolt. Be sure to line these holes up the best you can.

I had to improve this tap of mine so that I could thread it all the way through the hole. She’s a real beauty now!

Almost done. Next I put a 1/4″ bolt in the chuck of my drill, and rounded the head on the belt sander using the drill like a lathe. I adjusted the bolt to the height I liked best (that being where it located the caliper needle to 12 o’clock), and tacked it in with a drop of carpenters glue.

…and for the final touch, I put on this handy conversion chart, so that even Canadians can use it!§

keywords: caliper, calipers, measure, dial. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

I am pleased to announce the new Sound Salon Forum, generously hosted by The Official Luthiers Forum. This forum will give people a space to discuss the latest Sound Salon articles, as well as the site in general.If you haven’t visited the The Official Luthiers Forum yet, be sure you do. It holds a wealth of knowledge, as well as an amazing luthier community.We are very happy to be working in cooperation with such a great site.§

Start by laying out your braces on the back. You can use math or your eye to determine the correct spacing. It is wise to space the braces evenly.


Using a square… square the braces to the centerline.

With a Pencil (flattened on one side), mark the brace locations on the center strip. The flat side of the pencil should be held tight to the side of the brace to ensure an accurate projection of the brace width.


Choose a sharp chisel and cut down (just inside the drawn lines) in a slow rocking motion. The final slot edges will be cut once the center is hogged out.


Hog out the slot center with a smaller chisel (bevel down).


Cut the final slot edges (bevel toward slot). If you leave half of the pencil lines, you will have a snug (but not tight) fit.


Test fit the brace.


Continue cutting the slots for the remaining braces.


Place the back in a gluing or sanding bowl with the desired radius (usually somewhere between 12′-20′), place the bowl in your gluing area (go-stick bench for this article), and start applying glue to a brace.



Fit the brace into the slot. Hold it square, and add some pressure in the center to give the brace tack. Add one go-stick to the center. Once the brace is aligned, add more go-sticks.



Clean the glue after each brace is glued. I prefer a small metal scrapper because it doesn’t smear the glue.


Continue adding the remaining braces.

§

keywords: glue, gluing, glued, backs, back, brace, braces, bracing, braced, go-stick, go-sticks, bowl, clamp, center strip. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Once the guitar frame has the correct top and back radius (and optional side braces), you can install the kerfed liners.

Make sure the gluing surface has been sanded and cleaned of any side bending resin. This sanding should be done before blocks are glued on.

You can final sand your liners before or after installation. If your liners do not have any significant markings (bandsaw, tablesaw, etc) it is advised to final sand them after they are installed. The clamps and glue can leave marks of their own, and you might as well save your self from doing the same job twice.

Start at the neck block. Trim the end of your liner to match the blocks angle.
If you are using a short length, clean up the other end as well.

If you are using a full length of kerfing, install the strip without any glue, mark the end of the liner, and trim it to fit snug.

Apply glue to the liner, and a small dab on the block.

Press the liner tight against the block, and place a few clamps to hold it in place.

The liners should be left proud of the side by 1/16″ or so. This will make it possible to attain the desired top and back arch.

Continue to clamp the strip along the side. Try to keep the liners as close to 1/16″ above side as possible. The liners will point higher after the waist.



When the excess glue gets slightly gummy, remove it with your choice of tool.


Flipping the frame on its side, makes it a little easier to clean the glue.


I prefer a small metal scrapper because it doesn’t smear the glue.



Be careful when cleaning glue around side braces. The glue will make them very easy to damage.

If you are using short lengths, clean the glue from the liner ends.



The joining kerfed liner section can be dry fit and trimmed so it fits snug.




When the end strip is glued in place, make sure to leave a space between the sections. This will hide the joint by making it appear to be a kerf.




If there are any spaces left at the end of the strip. You can cut a thin liner section, and clamp it in place. Most people will never see this area of the guitar.


Continue installing sections.



The sides/liners can now be final sanded, and shaped to receive the top and back.

Many different types of clamps can be used. It’s just a matter of preference, and/or what you have around.



§

keywords: glue, gluing, glued, brace, braces, bracing, braced, clamp, clamps, taylor, side, liners, lining, lined, liner, kerfed, kerf, kerfing, kerff, kerffing, guitar, luthier, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

You now have access to the Sound Salon beta website (http://www.soundsalon.com/beta). Please submit a comment if there are any features you would like to see added/removed/etc. If you have anything you’d like to add to the site, please submit it. This should be fun.

(updated) New Feature

When you click on the Library link to the left, you will find a list of articles in the Sound Salon Library. As the Library gets larger, this list will help you navigate through it.

The list is sortable (by Article Name, Category, Genre, Author, and Date) if you are using a modern web browser. (Firefox, Safari, IE6+, etc.)

Thanks for being involved with this beta site.

§

By Sergei de Jonge ·

When I started to make guitars in my own very sparsely equipped shop, I made the jigs for each guitar as I needed them. One of the first things I needed was a way to join tops and backs. I had seen them joined with a system of bar clamps, but bar clamps were expensive, and in these days I was chronically broke.

I had some scrap plywood, and I conceived a way of joining that I still use to this day. I haven’t thought of any way to improve or refine it.

Fig. 1 shows the joining board. It’s basically a piece of plywood about 24” by 24” with two nubs glued on one side and with a slot cut in the other.


Fig. 2 shows the other pieces of the jig. A wedge and a “thing”. The “joining wedge” and the… …“joining wedge thing”.


Fig. 3 shows a top being joined. Here’s how it works: Once there is a perfect joint on the top (the subject of a future article), put the show side (bookmatch side) down on the joining board against the nubs with a strip of newspaper (or wax paper) underneath the joint. I use newspaper because it’s cheaper. Put the wedge against the edge of the top, then place the “thing” against the wedge.

Notice that the “thing” has the middle cut out, making only two contact points with the wedge. Clamp the middle of the “thing” just snug at first. Push on the wedge, allowing the “thing” to adjust, creating equal pressure at both points. Now the clamp can be made nice and tight. With the clamp tight you can put as much pressure as you want on the wedge.


Fig. 4 shows Alan driving it home with a splitting maul!

Actually, you don’t need a splitting mall for this. A few taps with a light hammer will do. I usually just push the wedge in tight by hand. That’s enough pressure, if the joint is good. Like I tell my students: “If you have a good joint, you don’t need much pressure; if you have a bad joint, pressure won’t make it good.”

The weights are placed on the top as close to the joint as possible to keep the bottom surface (your good side) even, and also to keep the top from buckling up. This will happen if you apply a lot of pressure with the wedge.


Fig. 5 shows the versatility of this system. Here, a top is being joined that has already been cut to shape. No problem; the jig still accommodates it just fine. Of course this jig works just fine for gluing backs as well.§

keywords: joint, join, joined, joining, joints, top, tops, backs, back, board, clamp, wedge, luthier, luthiers, guitar, maker, builder, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

By David LaVallee ·

Tough to make wood fit the mold without a side bending tool. My choice in side bending is the hot pipe. I didn’t have one of my own, so I asked Mark Kett how to make one.

My contribution to the science of side bending is figuring out that a BBQ lighter has all the parts you need for a heating element (scavenging electrical heaters and ovens also works, water heater elements do not work).

Here is how you can make your own, only takes about three hours:


1. Materials

Home Depot for the lot. The electric barbeque lighter for ten bucks also saved me the six bucks for an electrical cord.1. Lutron 1000W Incandescant Light Dimmer $29
2. Electric BBQ Lighter (500W) $10
3. 16 inches of two inch diameter steel pipe $5
4. 5/16 threaded rod, 12 nuts and washers $5
5. Shop scrap 3/4 inch plywood


2. Drill And Tap

I also bought a 5/16 inch tap at the Depot, and drilled four holes in the pipe and tapped them so the threaded rod could screw right in to the pipe.



3. Legs And Base

Cut four pieces of the rod into six to eight inch lengths. Bend them using a metal vise and small sledge hammer so that they are angles to enter the base in a perpendicular fashion. Screw them into the pipe and use a washer and nut to lock the rod to the pipe. Mark and drill holes into the base, then bolt the pipe assembly to the 3/4 inch ply base (nut, washer, plywood, washer, nut).



4. Strengthening Base

Rather than countersink the space for the bolt and washer on the bottom, I glued three strips of 3/4 inch plywood to the bottom of the base.



5. Wiring

Drill out the rivets and remove the plastic cover of the BBQ Lighter (voiding warranty). Carefully remove the wiring and heating element intact. Take about nine inches of insulation off of the cord. Gently (but firmly) reshape the heating element so that it will fit into the pipe snuggly.Do not damage the inner wires of the cord! The idea here is that you are going to put the dimmer (with its black wires) in line with the black wire of the cord. You should also connect the green wires (ground). You don’t need to cut the white wire unless you need to thread the cord into a small electrical box (like I did). Carefully connect the wired using twist caps, and electrical tape over that (If you are unsure of your electrical skills).



6. Dimmer

Anything that you suscpect of being a bare wire with 120 volts in it should be carefully insulated with electrical tape (red in this picture).
Note that I built up a platform of plywood so that the electrical box is close to the pipe.



7. Complete Hot Pipe (Side Bending Iron)

There it is. To use it, clamp to a secure bench, plug it in and turn it to high for 10 to 20 minutes (water should instantly boil if dropped on the pipe). Then dial it back half way and try some bending. If the wetted wood scorches, it’s too hot, turn it down. If the wood doesn’t seem to be getting warm (steam should be oasionally visible) turn it up. Mark your sweet spot for next time.

The de Jonge. method of side bending relys on always maintaining a curve, in other words, avoid all sharp bends, they are murder to get out.§

keywords: bend, bending, bent, bender, iron, pipe, hot, side, sides, luthier, luthiers, guitar, maker, builder, guitarmaker, electric . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Please send in your Event Article, and we will add it to the Sound Salon Event Calendar.

If you have a Sound Salon account, you can compose your Event Article Online.

If you do not have an account, and are interested in submitting an event, you can click Here. This link will open up a new email window on your computer.

If you use an internet based e-mail (eg. hotmail, Gmail ) you can send your submission to: submitarticle@soundsalon.com .

Include in your submission:

• Event Title:

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• Article Content: Write a complete description of the Event here. You can include as many links, photos (full size preferred), videos, etc. as you wish.

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After your submission is received, it will go through an editorial process. If your event is chosen to be posted on the site, you will be notified prior to its release.§

A grassroots meeting place that welcomes experienced and amateur guitar makers with equal respect. The forum is run by Lance Kragenbrink & Brock Poling, and fueled by an amazing community of builders.

The Acoustic Guitar Magazine website hosts a forum for many topics, ranging from guitar playing, to guitar making, with a lot in between.

“This site is dedicated to the acoustic guitar and all things related. Our discussion forum is unlike any other. We showcase a different acoustic guitarist every month. The Fret has hundreds of links to various acoustic guitar resources. We offer our members a community environment. You will find many interesting articles on the construction of acoustic guitars in our articles section and our links sections…”

“The goal of this Forum is to engage in the dissemination and discussion of well reasoned, accepted, established, and professional methods involved in Lutherie, and it’;s attending issues. While there may not be a single “right” way to produce a given result, there are certainly numerous “wrong” methods. Dubious or spurious advice given, under any circumstances, will be called into question immediately, and probative action may be taken.”

“…an interactive forum for the discussion of musical instrument construction, design and repair; welcoming builders of all instruments at any skill level from expert to wannabe. For eight years the web’s premier site for instrument builders…”

“Founded by Steve Stallings. The Unofficial Martin Guitar Forum is an independent Internet forum which is not in any manner related to or affiliated with C. F. Martin & Co., (The Martin Guitar Company) Nazareth, PA…”

When inserting or removing frets, it helps if the fret slots are beveled. The bevel allows the fret to be inserted and removed without disturbing the top level of the fingerboard that the fret rests against.

A beveling tool can be made out of many items you already have. I use the same modified three corner file I use to shape my fret ends.

Bevel one edge of the fret slot at a time. Approach from the center of the fingerboard, and move toward the edge with a pushing motion. This method helps maintain the top of the fingerboard binding. When one side of the fingerboard is done, turn the guitar around and bevel the other side.

The bevel should not extend past the width of the fret.§

keywords: frets, fret, fretting, freting, fretted, freted, fingerboard, finger, board, slot, slots, slotted, bevel, beveled, luthier, guitar, guitarmaker, . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

This site is powered by content submitted by the music community.If you have a Sound Salon account, you can compose your article Online.If you do not have an account, and are interested in submitting an article, you can click Here. This link will open up a new email window on your computer.If you use an internet based e-mail (eg. hotmail, Gmail ) you can send your submission to: submit@soundsalon.com .Include in your submission:- Article Title:- Article Author:- Article Content: Write a complete description of the Lesson, Event, etc. here. You can include as many links, photos (full size preferred), videos, etc. as you wish.- Article Resources: (optional)- Photo Credits:After your submission is received, it will go through an editorial process. If your article is chosen to be posted on the site, you will be notified prior to its release.§

When binding a fingerboard, excess glue often builds up near the ends of the fret slots. Cleaning the slots allow the frets to seat properly, and as close to the slot ends as possible.

A simple fret slot cleaner can be made out of any utility knife, by grinding a shallow hook into its edge. A belt sander (or sanding drum on a rotary tool) is a perfect tool for the job.

Completing this job while the glue is still gummy is preferred (within the first hour if you are gluing with yellow glue), though cleaning after the glue has hardened is still possible. If the hardened glue to be difficult to carve away, the cleaning tool can be heated with a blow torch.

It is important to take care when carving against the delicate fingerboard side strips.

§

keywords: frets, fret, fretting, freting, fretted, freted, fingerboard, finger, board, slot, slots, slotted, cleaning, cleaned, clean, knife, glue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Here is my latest inlay for the de Jonge Guitar Company.The shells used are Sunburst Gold Mother of Pearl (from DePaule Supply) for the pedals, and Paua Abalone Rim (from The Rescue Pearl Company) for the stem and leaf.All of the violet shading was attained by filling tiny engraved crosshatches with Gentian Violet.§

keywords: inlay for de jonge guitars, guitar, inlays, inlayed, shell, shells, mop, abalone, iris, Mark, Kett . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

I’m pleased to announce the Sound Salon Launch Party.

We will be celebrating the offical launch of SoundSalon.com at the world famous linuxcaffe. There will be a bunch of industry pros, great music, and chance to see the site with lots of coffee in your system. 7:00pm – 10:00pm.

Click Here for maps, directions, and contact info.

The event will give many of the current Sound Salon contributors/sponsors a chance to meet, and introduce more artists/artisans to Sound Salon.

If you know of anyone interested in attending, you can send them this link.

I hope this site becomes a valuable community driven resource for all.

Mark Kett.§