Here’s a photo diary of the latest guitar I’m working on.
Neck – Honduras Cedar
Soundboard – European Spruce
Body – Spanish Cypress
Head Veneer – European Maple, Indian Rosewood
Rosette – Galilee Olive root, European Maple
Bindings – Galilee Rosewood (Sesam)
Tuning Pegs – English Boxwood
This is my neighbour’s woodpile. They are lucky enough to have a big pile of olive roots to burn for the winter.
This is a piece of one of the olive roots.
Bands of maple are bent and inlaid around the central olive part with thin sycamore veneers to add contrast.
When the glue is all dry, I plane it down level with the surface of the soundboard.
It looks like this:
Thickness planing the soundboard to about 2.2mm.
Measuring the thickness.
All the parts ready to be assembled. At the bottom you can see the kerfed linings that will hold the guitar together. Above those are the sides. At this stage they’re still flat and have to be bent to shape.
Photo taken just before the back was glued on
Cutting the channel for the bindings.
Detail for heel inlay.
I am pleased to announce the opening of my new workshop in Kibbutz Yachad, next to Hararit.
It is much larger than my previous workshop, so I am now able to offer guitar making courses for up to 5 people at a time.
Courses are flexible and tailored to the individual as I understand that everyone’s circumstances, time limitations, aims and expectations are different.
As a general rule, however, courses will cover every aspect of guitar making, including:
Practical understanding, proper use and care of hand tools
Guitar history, evolution and innovation
Guitar making as a career
and lots more…
as well as building your guitar itself.
Guitars will be made and finished using traditional methods, hand tools and natural finishes.
Courses are open to anyone interested in building their own guitar. No woodworking experience is necessary, though it will be an advantage. No qualifications are necessary. These courses are intentionally hands-on and workshop-based. You won’t be tested on anything. Though it will be challenging at times, it should also be a fun, enlightening and possibly life-changing experience.
Accommodation can be arranged for those wishing to take a residential course.
Please contact me for further details
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Perhaps the most interesting and unusual feature of this guitar (and also the one which caused the most difficult design challenges) is the removable electrified scratchplate. The idea is that without the scratchplate, the guitar is completely acoustic. Then by the simple addition of the scratchplate, it becomes electric. All of the components – the volume and tone controls and the jack input are fitted in the small space beneath the scratchplate. The Kent Armstrong floating Jazz pickup comes out of the side to be suspended underneath the strings.
The whole assembly easily snaps on and off in a matter of seconds. This is thanks to the clever use of small, extremely strong neodymium magnets which are invisibly concealed inside the guitar’s bindings and in wooden feet on the scratchplate’s copper arms.
The scratchplate itself is made from local Sesam wood.
The Finished Guitar
Here are some pictures of the finished guitar.