Skip to main content

Classical Guitar Necks: Black Cherry and Spanish Cedar

I believe in tradition as long as it doesn't interfere with some of my ideas. First, I differ in the kind of wood that I use to make my guitar necks.

Arthur E. Overholtzer, Classic Guitar Making, 1974

I was busy last week.

First, I joined a western red cedar top, inlayed the rosette and then thinned the top down to about 2mm thick.

I want to experiment with the so-called fan/lattice bracing that is very popular right now amongst classic guitar makers.

The idea is to have a very, very thin top that is reinforced with an ultra strong, ultra light style of bracing, the concept is similar how the drum head on a banjo works.

These days young classical guitarists who compete in guitar competitions are playing the loudest guitars they can get their hands on. Some folks call these guitars "uber guitars", others call them "Australian guitars". These guitars are very loud and some don't sound like a guitar at all, they are very controversial right now in the classical guitar world.

Click here to how one luthier makes this style of guitar.

More on my cedar lattice braced guitar in upcoming posts.



Left, cherry neck. Right, Spanish cedar neck


Second, I started making two necks: one is of Spanish cedar which is for the lattice braced guitar; the other is of cherry, which is for a Conservatory model guitar that will be made of North American woods.



The cherry neck was a little too narrow, to make sure I have enough wood to make the head stock I added an "ear" to each side. Most of the excess wood will be cut off when I make the head stock and won't be noticeable when completed.



The heel block has been slotted to receive the guitar sides which will be held in place by wooden wedges, take a look at the photo on the top of this post to see the angles that I used.

I use a traditional "Spanish heel" on my guitars.

The saw in this photo is a Disston, it started out as a crosscut saw and now it is a rip saw!




An Atkins panel crosscut saw is just the thing to start the cut for the heel profile...




...which is completed with a shop made bow saw.




The necks awaiting the head stock veneers. The cedar neck will receive a Macassar ebony headplate and the cherry neck gets a walnut headplate made from cutoffs of the walnut back that goes with this neck.

Oh, so much work to do this week!

Comments

Popular posts from this blog

Off the Bench and For Sale: Miguel Rodriguez Style Guitar

This guitar has a Western Red Cedar top, Claro walnut back and sides, Royal ebony fretboard, Indian rosewood bridge and a 650mm string length.

This guitar has a beautiful voice and is loud! I was amazed at how loud it is as soon as I got the strings on and tuned to concert pitch. It is easy to play and I am blown away by the musical nuances that can be created with this guitar.

Please click on Guitars Currently Available or Studio Model to read more about this wonderful guitar!



1961 Hernandez y Aguado Style Classical Guitar, Redwood/Indian Rosewood, For Sale

The partnership of Manuel Hernandez and Victoriano Aguado was one of the most successful in guitar making history.

Roy Courtnall, Making Master Guitars, 1993

Please note that this guitar is currently for sale at Savage Classical Guitar. Please click here to see this guitar!

I made this guitar several years ago, but because of custom orders, I had to set it aside. I put strings on it two weeks ago and it is a most magnificent sounding guitar! It has good, clear separation string to string, wonderful sustain with evenness and balance throughout with a very lyrical voice. I originally made this guitar for myself, but someone with a good strong technique and a good understanding of musical interpretation should own this guitar and play it on a regular basis.



This guitar is a fairly close copy of a guitar made by Hernandez y Aguado in 1961. The body length is 480mm, most of the HyA guitars had a body length of 490mm; string length is 650mm, many were 655mm and longer; other than that I trie…

How to Make a Traditional Froe Mallet

What holds the Holy of the Holies, what did Brahma become? Wood. Why will aspen always tremble? For the nails driven into the cross. What makes the color of wood? The soil it tastes. Cradle, fiddle, coffin, bed: wood is a column of earth made ambitious by light, and made of beauty by the rain.

Kim R. Stafford, Having Everything Right, 1986.

Rive, verb, to split
Shake, noun, a split in a piece wood. (Heart shake, ring shake)
Shake, verb, (Middle English), to split.

I know I should have been in the studio working on my back log of guitars, but the day was so nice and warm with a tall blue canopy, I couldn't stay inside. I decided that I needed to make a proper froe mallet. This style of mallet is traditional to northeastern California, primarily Tehama (where I'm from), Butte, Shasta and Plumas counties where making shingles by hand from sugar pines was an industry. I don't know if it was used in any other region along the Pacific Rim, other parts of the United States or even o…