GUITARMAKING TRADITION AND TECHNOLOGY LIBRO LIUTERIA CHITARRA ACUSTICA CLASSICA COSTRUZIONE

GUITARMAKING: TRADITION AND TECHNOLOGY. 388 pagine illustrate, sulla costruzione e il design della chitarra folk e della chitarra classica.

LIBRO MANUALE DI LIUTERIA CLASSICA ACUSTICA.

Guitarmaking TRADITION AND TECHNOLOGY

A Complete Reference for the Design & Construction of the Steel·String Folk Guitar & the Classical Guitar

William R. Cumpiano and Jonathan D. Natelson
photographs by Clyde Herlitz / line dravvings by William R. Cumpiano

CHRONICLE BOOKS SAN FRANCISCO

LAYING OUT THE BRACING PATTERN

These depict the width of the cross struts. To denote the fan-brace locations, we now use as an inital reference the lower parallel line for the lower cross strut. Mark on that line, at intervals of 1/4 inches, three dots on both sides of the centerseam (that is, at1 1/4 inches, 2 ½ inches, and 3/4 inches from the seam). Next, measure ½ inches up the centerseam from the bottom of the outline, and make a dot. Using the ruler, find a point on the guitar outline that is 7 inches from that dot and draw a line connecting the two points. Repeat for the other side. These lines denote the bottom V of the bracing pattern. Measuring from the centerseam on each leg of the bottom V, mark dots at intervals of 2 inches. Connecting the six dots on the lower cross with the Six dots on the bottom V completes the fanbrace layout. The rosette grafts are laid out by drawing lines tangential to the soundhole and square to the cross struts, and then drawing parallel lines I inch from each tangent. To denote the finger braces, mark a dot on the upper parallel line of the lower cross strut % inch from the outer edge of each rosette graft. Then mark a dot on the lower parallel line of the upper cross strutI ½ inches from the outer edges of the rosette grafts, and connect the dots. Measure 1 ¼ inches up along the centerseam from the upper cross strut and draw a line perpendicular to the seam. Draw a parallel line 5/16 inch further up. These lines denote the upper transverse bar. Next, draw two vertical lines connecting the upper transverse bar with the upper cross strut, each 2 1/2 inches from the centerseam. These lines indicate the boundaries of the upper transverse graft. To locate the transverse bridge pad, mark from the top of the outline down the centerseam the distance from the twelfth fret to the saddle. For a 25.6-inch scale, that will be 12.8 inches plus .10 inch compensation, or 12.9 inches. Draw a line perpendicular to the centerseam at that point, and then parallel lines ¼ inch above andI inch below. The pad will actually be shaped as shown in Fig. 7-10 (scale drawings), but it will be positioned using the horizontal lines1 1 /4 inches apart. Finally, draw a line perpendicular to the centerseam tangent to the top of the outline. This will be a guideline for cutting off the top of the sound board squarely. Steel-string Bracing Layout The template outline and centerline have been marked on the undersurface of the soundboard. Refer to Fig. 7-10 (scale drawings) while reading the following steps. The headblock is represented by a 2 x 2l /2-inch rectangle, which is located at the upper center of the template outline. Draft the rectangle so that it is bisected by the sound board centerline. The top line of the rectangle must be set back 3/32 inch from the template outline (the thickness of the sides) and accurately perpendicular to the centerline. The accuracy of this line is vital, since we will alig the actual headblock to it when it is glued to the soundboard. If the headblock is crooked, the neck will be also. The bridge outline must be drafted on the undersurface of the sound board. Refer to Chapter 15 to make a bridge outline template, and locate its outline as shown in the layout drawing in Chapter 3. The upper face brace is just above the soundhole. Its closest edge is1/4 inch above the soundhole rim. Draw two parallel lines1/2 inch apart, perpendicular to the centerline. Extend the lines till they reach the template outline. The upper face graft is between the head block and the upper face brace. Draw two parallel lines 7/8 inch apart, perpendicular to the centerline. Center them in the space allotted. Connect the ends with angled lines as shown. The X-brace is represented by two sets of two parallel lines 5/16 inch apart, which cross at the centerline. You may copy the splay of the X brace from the diagram, paying particular attention to the distance between the ends of ...

CONTENTS
PREFACE
CHAPTER 1 The Guitars Anatomy
CHAPTER 2 Materials & Tools
CHAPTER 3 Preparation & Planning
CHAPTER 4 The Neck & the Headpiece
CHAPTER 5 The Plates
CHAPTER 6 The Soundhole Rosette II
CHAPTER 7 Soundboard Bracing
CHAPTER 8 Side Bending
CHAPTER 9 Assembly I
CHAPTER 10 Assembly II
CHAPTER 11 Purf1ing & Binding
CHAPTER 12 The Fingerboard
CHAPTER 13 Final Carving & Finiting
CHAPTER 14 Finishing
CHAPTER 15 The Bridge & Pinning the Steel-String Neck
CHAPTER 16 Set-Up
AFTERWORD Troubleshooting & Guitar Care
BIBLIOGRAPHY
BILL OF MATERIALS
SOURCES OF GUlTARMAKING SUPPLIES
INDEX