The guitar is finally finished! I say finally because I went over my initial timeline for this guitar by about 2 months, largely due to taking on the Hamilton guitar project and all of the travelling that I squeezed into the summer. I think it looks pretty fantastic and I am equally happy with how it sounds and plays. For a traditionally built guitar, this one has a decent amount of volume with responsive basses and singing trebles. I find that the guitar responds without a lot of effort and my fretting hand feels pretty comfortable on the 640mm scale. Unfortunately I will be delivering the guitar very soon, so I don’t get much of a chance to play her!
Since the last building update, I have spent many hours applying (and removing) shellac. I started by brushing on a few coats and working some pore filler into the rosewood. That took me longer than it should have – I am not a big fan of the pore filler that I was using. Next time I’ll be using the traditional French polishing method of filling pores rather than mucking around with another product. Once the pores were mostly filled, I switched gears a bit and started padding on shellac (“French Polishing”). I am by no means an experienced polisher, so I ended up having to sand out many more imperfections than I care to admit, but in the end, it has turned out passably well. I will save a more in depth discussion of French Polishing until I am more confident in the process.
Once I was happy with the top, I made a bridge out of rosewood and fitted and glued it in position. Of course I then had to go back and fix a couple of scratches in the polish, so I got out my shellac again and polished a bit more.
Then I hammered in the frets in and set the guitar up to play so that a couple of friends and colleagues could try out the guitar, and of course, the finish was damaged slightly during the test runs with all of the rasgueados and tapping, so I had to pull out the shellac once more and polish away the scratches. Luckily shellac, although time consuming, is quite forgiving, so after all of this, it looks pretty decent.
I have to say, I am quite fond of the birdseye maple fingerboard. At first I was skeptical, but now that I see the finished guitar with the rosette and everything working together, I think that bright fingerboard is quite stunning. It was also easier to work with than ebony or rosewood because pencil lines showed up really easily on the light wood!
I think this light fingerboard works so well because I kept the overall palette of the guitar quite simple. Rather than cramming in every exciting bit of wood that I could find, I stuck to cedar, rosewood, birdseye maple, white purfling, and a little bit of ebony. The bright fingerboard is balanced between a rosewood headstock veneer and a rosewood bridge.
And can I gloat a little bit over the success of the rosette? This was requested by the client, so I cannot take ownership of the idea, but I am pretty happy with the execution:
I did consider (after comments from some readers, actually) adding a new moon on the fingerboard to complete the lunar cycle, but after looking at it, thought that it looked a bit odd, and the client and I decided that we preferred the simple, clean look of an uninterrupted fingerboard.
I did put a little bit of Lee Valley’s varnish oil on the fingerboard and the bridge to protect the wood from dirt and give it a bit of a glow.
Not much else to say on this guitar, but here are a few more pictures:
And so that is it, another one done! I’ll be starting a new guitar soon, but first I have to get through a couple more projects, so you might not see the new build under way until late October.