A 17th.C. Italian Style Marquetry Guitar I made

[george wilson]

This was a special order from a well known actor. The back and sides Are completely covered with hand sawn marquetry done with a deep throated fret saw made from yew wood.An instrument of this degree of decour would have been owned only by royalty and the very wealthy during the period. It took several months to make.The saw had to be deep enough to reach the length of the body.Balancing the fairly heavy saw,and not breaking the very small blades was the major problem in the work.Fine 8/0 jeweler's saw blades were used to saw the designs.

The body is walnut and holly,and the neck is inlaid with silver wire,rectangular in form,driven into little grooves that were punched in with a very small chisel. Then,a burr,similar to the burr on a scraper was turned on the bottom edge of the wire to lock it into place when it was glued into the grooves.The glue added moisture to the wood,swelling it around the internal burrs.This is how wire inlay was done on fancy early firearms of the 16th. to 19th.C. guns.

All of these designs are my own composition.If you examine the designs,you will see that they are the same: Hearts becoming larger,while hearts going the opposite way become smaller. My designs include authentic elements from the period and culture,but the way I employed them was my decision.The sides of the guitar are 1/2 of the total design seen on the vaulted back. As the areas covered with design work became smaller,I simplified the same design to fit into the 3 basic areas,in order of their importance: The back and sides were the largest and most important visual feature,next,the neck,then,the piercing in boxwood in the center of the peghead.

The back of the guitar is vaulted,and composed of four ribs coopered together,as was common in the 17th.C.,somewhat related to the way lutes were made.The designs on each had to register with each other.

The neck is pearwood stained brown with iron and nitric acid. It will never fade,being at the end of its chemical evolution.

The tuning pegs are boxwood.They have small ebony "eyes" in their ends.

The face of the instrument is spruce,with inlaid tracery below the bridge in thinly scraped ebony,similar in technique to the silver wire inlay. However,the design is shaped to properly occupy the shape of the lower bout of the soundboard.

The wings of the bridge are thin ebony,again pierced with the saw.The tie off block of the bridge is overlaid with engraved ivory,though it may be hard to see.

The fingerboard was left plain,of Gaboon ebony(as is all the ebony),to facilitate the player finding his way about easily on the fingerboard. This was not always adherred to,as you will see in another instrument.The extended soundboard wing,traveling up into the neck, is typical of the period,and is inlaid with ebony tracery as well,to bring continuity to the overall composition of the soundboard. The highest frets are ebony,as was common in the period,because music was not commonly played in the highest register of the guitar while the actual playing frets are tied on gut. They did not have tempered musical scales until the late 18th.C.,and could slide these frets to play in what we now call a mean tone scale,which was modified for each different key.Actually,more perfectly in tune than out modern tempered scales,but not as handy,since each fret positioning was applicable only to one musical key.

The soundhole inlay is actually three dimensional: The leaves are set into recessed areas routed into the top to about 1/32" deep. The small ivory blocks set between black-white-black purfling around the leaves,are also set into a recess,and were glued in one block at a time corner to corner.

The wide yellow strip around the edge of the top side is actually a 1/8" thick piece of boxwood glued on over the sides to make a raised area,for further three dimensional effect.Upon this area,rosewood binding and purfling is mounted.

The perimeter of the peghead is carved into a vertically oriented design,consisting of chisel cuts made vertical to the plane of the top and back surfaces of the peghead,forming a moulded effect.

The center of the peghead is cut away,and a pierced boxwood design 1/8" thick is inserted half way through the peghead. This is held in place by small mouldings made with a scratch stock in boxwood,mitered at the corners.

I will have to post a separate picture of a closeup of the neck. These three pictures are all I have of this instrument.There was an elegant case,but I have no photographs of it. I will post pictures of another instrument case similar to the one that went with this guitar.

This instrument was made while in public completely using period hand tools.

http://www.sawmillcreek.org/attachment.php?attachmentid=114373&d=1238370559

[Lowell Smith]

Except, I agree with the earlier post that you should put a book
together!

Oh, is are any of your stunning pieces somewhere we (I) can see them
in person? I'm pretty sure the actor and the Queen won't be accomodating:D

[george wilson]

The actor went out of favor in a legal dispute with his studio. I have no idea where the guitar now is.I would like to do a book of how to use tools,and maybe include photos of work too,but it would cost a fortune.At my age,it would be good to leave a legacy in print.

[Hank Knight]

O.K. That's over ther top. Go to your room.:eek:

[george wilson]

But Hank,I am in my room!!!

[Jim Koepke]

Incredible is the only word that comes to mind.

jim

[Mike Henderson]

Wow! is my only contribution. Amazing work.

Mike

[Dewey Torres]

Now that's what I am talking about:D:D:D!

[Lowell Smith]

George, I don't know how you would organize such a huge task, but what
if you started small? One of your chapters might be a book to me. For
example, the recent discussion of saw handles raises a lot of questions
for me. Particularly, how do the aesthetics balance with the functional
aspects including grain orientation and the desire to avoid short grain. Also,
the embelishment of the top of the disston 7 handle looks great, but it also
helps when I use the saw with both hands. Is this what was intended?

I realize as a relatively inexperienced woodworker my questions are likely
to be sophomoric. However, given your interesting comments and fantastic
examples of your work you've posted, I don't think you should underestimate
the markets willingness to pay for your insights, however small.

[george wilson]

Thank you for your ideas Lowell. I will give them thought.

[Roger Barlow]

George, that's just crazy ridiculous skill in inlay. Outstanding!

[Brian Kent]

George, I think the idea of the book is excellent. It is very expensive if you are fronting the money for the publishing. Why not using a publisher whose business it is to hire a writer and print and sell books? What about any of the major presses having to do with woodworking. Does Colonial Williamsburg have their own publishing branch?

[scott spencer]

I was going to post a pic of the push stick I made this weekend but have changed my mind! ;)


That's truly amazing George!

[Jim Kountz]

I was going to post a pic of the push stick I made this weekend but have changed my mind! ;)

Too funny!!:D:D:D:D

[Rob Luter]

How did it sound?

[Dan Karachio]

Beautiful. You are obviously a true artisan. I have to ask, do you think this actor actually plays it? It has always bothered me that such beautiful instruments often go to a collection of boy toys. Alas, such is the way of this world.

[phil harold]

marvelous, simply marvelous!


or should i say

intricatly marvelous!

[george wilson]

Actually,it had quite a good sound. The vaulted backs did not vibrate a lot,anyway. I do not know if the actor played it.I made some other things for him,like a nice violin case for an antique violin that I sold him.Actually,I really lost out.I had an 18th.C. pianoforte exactly like the one in Monticello,except mine had the original stand. The actor,who I did not recognize,expressed interest in it during a crowded day at the instrument shop. I had never been to the type of martial arts movies he starred in. I didn't pay a lot of attention,because a lot of people made remarks like that. A year went by,and a Concert Master from an orchestra came in,and made it very clear that he had to have that piano,because Baroque music was his field. I got the piano all fixed up,and sold it to him several months later. I also made him a violin with a lion's head,a Baroque model. The actor returned,and I then realized who he was,after we talked some. He had REALLY wanted that piano,and money was no object.I could have sold it for a lot more!! After all,musicians are not usually rich. But,I made a fair profit anyway. I told him who bought it.He got hold of the Concert Master,who agreed to sell him the piano,if he would give him a part in his next movie!!! What a ham!!! Well,it turned out that there was no next movie. The actor got into a squabble with his movie studio. Something about they only wanted to sell his GOOD movies to television. He wanted them to sell ALL his movies to television. They black balled him. No movies since from him. From the actor's type of movies,I'd never have guessed that he was an 18th.C. afficiando. He did get me to build the guitar. His only instructions were "make it as fancy as you can". Well,I COULD have made it even fancier,but we did have other orders to fill,so I could spend only so many months on it. I enjoyed the break from the usual plain instruments,and the design opportunities it afforded me. I never would want a guitar like that for myself.I prefer fairly plain,but it was fun to make.

Thank all of you for your kind comments.

[Mark Singer]

Really amazing! How many hours of work are in that baby?

[george wilson]

It was made in public,with a lot of talking and other distractions,so I really do not know how long it took in pure work time. Several months were spent on,though,maybe 7 or 8 months overall-with talking,etc.. The makers in the period probably would have had specialists in inlay and marquetry to do some of the work. I think as many as 20 people or so were involved in making fine chiseled steel and inlaid firearms,for example. Few could make the whole thing by themselves,plus,work was very controlled,and workers not permitted to infringe upon each other's area of work.

It was mentioned in the 18th.C.,that Durs Egg was one of the few gunsmiths in London who could make a gun "without hawking it to every journeyman in town."
And,even to be in a big city like London,you had to be the best level of craftsman or not be admitted to the guild.

[Jameel Abraham]

More beautiful work, George. Care to elaborate on the technique you used for inlaying the fine ebony lines below the bridge? Any closeup shots of that area?

[george wilson]

Jameel,I was hoping you would turn up.I know you do this sort of work in the best tradition. These are my only pictures. The inlaid ebony tracery was done just like the silver wire. A small chisel about 1/16" wide,and maybe .020" thick is made. It's end is sharpened on both sides to meet in about a 45 degree angle. The chisel is made of 1/8" square tool steel.Just the last 3/8" is filed down to that thinness,or the chisel would be weak,and break. Put a wooden handle on the other end to tap on. The taps are light,and won't drive the end of the chisel up into a hardwood handle.The design is usually drawn,then scribed with a knife. The chisel is fitted into the knife cut,and tapped into the wood with a small hammer,so it pushes the wood aside,making a little kerf. This is cut all along the design. It is tricky to do it in spruce,due to the hard and soft grains wanting to deflect the chisel. Finally,the thinly scraped lines are glued in.The lines of ebony,or silver,need to fit the groove so they tap in snugly,but not so tight it crushes the lines trying to get them in. the glue wets the wood,and helps swell the cut tightly around the lines inlaid. Dots are drilled into the top,and inlaid,as are leaves,or further embellishment.

[Barry Richardson]

That's fantastic! Thanks for posting! My wife's sister lives in Richmond, next time we visit, going to Colonial Williamsburg is my top priority!

[Rob Luter]

Actually,it had quite a good sound.

I've always been a sucker for the sweet sound you can coax out of those small body parlour guitars. They don't project like an OM or a Dreadnaught, but the tone just sparkles. As pretty as that is I'd be afraid to play it.

[george wilson]

In their day,these were the full size guitars,Rob. Glad you enjoyed the photos,and thank all of you others too.

[Zahid Naqvi]

George, like everyone else said, your work is inspiring, not to mention some of the best I have seen.

[george wilson]

Zahid,thank you so much for getting all 3 pictures in the main posting. I also see that if you open a picture,and then click on the picture a few times,it gets larger. Thanks again.

[Rob Luter]

In their day,these were the full size guitars,Rob.

That's true. I missed the 17th Century reference in the posting. I was fixated on the instrument. I wonder what the folks of that era would have thought about a big J-40 or the like?

[george wilson]

Earliest full size guitar I ever saw was about 1835,and it was a fluke. It was classic size.

[Hank Knight]

George,

I'm still gawking at your work. It is wonderful. I noticed from your "public profile" that you are a retired master musical instrument (and tool) maker. Would you mind elaborating a little on your career and background? What kind of instruments did you make in your former day job? What kind of tools? I find your skills incredibly fascinating. I'd love to know how you acquired them.

Thanks.

Hank

[george wilson]

Hank,it's a long story. Briefly,I started playing,and right away started trying to make guitars when I was 13. My $12.00 guitar was very bad.I wanted a better one,but we never had money,nor was I encouraged to make guitars.I studied Industrial arts in college,and took up with a very great sculptor,who ended up as head of the art dept. at Harvard. He taught me a lot about taste in design.I taught for 6 years,to have access to the shop after hours. Col.Wmsbg. contacted me in 1969 to sak about me making instruments for their fledgling Music Teacher's Shop. After I came here for an interview,they offered me a job. I came here in 1970.

I was interested in many things,and got a metal lathe in 1974.I had always made tools as I needed them,but really got going when I got the lathe and a small milling machine. They begged me into opening a toolmaker's shop in 1986. After all those years in public,I was about ready to be in private. It is very difficult to do inlay and carving with people constantly asking questions. I retired in 2009,and am 68.

[Hank Knight]

Thanks George. You must have been largely self taught. I must say, you had a good teacher and a good student. I'm still in awe of your talent. Please find a way to pass it on - not to me, I'm 65 and trying to retire from law practice, if only the Stock Market Gods would only cooperate - but to others who have the time and the inclination to learn. I wish this country took a National interest and pride in our skilled artisans and made some effort to preserve their talents. Unfortunatley, its pretty much depends on individual initiative. If guys like you don't take the initiative and pass on what you know, we will be poorer for it in the future. Thank you for sharing with us.

Hank

[Jameel Abraham]

Jameel,I was hoping you would turn up.I know you do this sort of work in the best tradition. These are my only pictures. The inlaid ebony tracery was done just like the silver wire. A small chisel about 1/16" wide,and maybe .020" thick is made. It's end is sharpened on both sides to meet in about a 45 degree angle. The chisel is made of 1/8" square tool steel.Just the last 3/8" is filed down to that thinness,or the chisel would be weak,and break. Put a wooden handle on the other end to tap on. The taps are light,and won't drive the end of the chisel up into a hardwood handle.The design is usually drawn,then scribed with a knife. The chisel is fitted into the knife cut,and tapped into the wood with a small hammer,so it pushes the wood aside,making a little kerf. This is cut all along the design. It is tricky to do it in spruce,due to the hard and soft grains wanting to deflect the chisel. Finally,the thinly scraped lines are glued in.The lines of ebony,or silver,need to fit the groove so they tap in snugly,but not so tight it crushes the lines trying to get them in. the glue wets the wood,and helps swell the cut tightly around the lines inlaid. Dots are drilled into the top,and inlaid,as are leaves,or further embellishment.

Very interesting technique George. I've been brainstorming something along these lines (no pun intended!) for some time. I haven't done much work like this and am always looking for a better way. Is the knife line a double line? I'm not quite visualizing the technique. Can you elaborate?

[george wilson]

Thanks,Hank. I am trying.

[Justin Cavender]

That makes me want to delete the guitar I posted in the projects forum great job I hope my skills will be half of yours someday

[Barry Rowland]

Wow! That is really an amazing technique! And I thought I was good
at mitering the purfling on a guitar where all the angles meet.

That is incredible George! You are truly a master. Do you still build any violas or guitars?

I was thinking of doing something spacial with the Dreadnought guitar I am building now. Although nothing even approaching your capabilities I would like to give your technique a try. Do you think a two cherries 2mm chisel is small enough to lay in the groves for this type of inlay? The top for this guitar is Carpathian spruce. The chisel mikes out at .069 thousandths and I can re-grind it to suite the proper bevels.

[Jim Becker]

WOW....wow....WOW...

[george wilson]

Jameel and Barry: The chisel is made by taking a piece of 1/8" square W1 tool steel.While it is soft,file the end down to the thickness of your tracery .You can file just the last 1/4" to 3/8". to a parallel thickness,because you don't want to punch a tapered groove. On the cutting end of the chisel,make a bevel on both sides of the tool. The bevels I use are about 45 degrees each. That leaves a 90 degree cutting edge.The edge has to be quite sharp,but its purpose is to cut into the wood and push it aside by compressing it,leaving a straight sided groove to fit the tracery into. The width of the chisel should be dependent upon how tight the turns are that you wish to punch. Mine was 1/16". If you make a tool out of an existing chisel,you will have some accurate grinding to do.I'd rather file it out of annealed W1,and harden it,then draw it blue.

You must take a sharp knife and cut along the line you wish to punch out. This gives you a little trench to fit the chisel into so you don't make a misaligned line.

If you find that a 90 degree cutting edge isn't sharp enough,make the edge a little more acute. When punching into a guitar top,I don't want the groove to go too deep from having an acute edge. I don't want to sever through the top.

I DO NOT recommend this technique for a steel string guitar. With too much string tension,the belly of the guitar would start pulling up from being weakened.

TO PUNCH A LUTE ROSE: make the chisel the same way,but make it about 1 1/2 times as thick as a disposable razor blade ,tapering evenly down to a very thin knife edge where it cuts. If the chisel is too thick,it will crack the soft spruce.You want to push the spruce sideways as little as possible while you push the razor sharp edge completely through the spruce.Keep a soft pine cutting board behind the rose you are cutting.

[george wilson]

Barry,I am building a round shouldered jumbo guitar on order right now. It has European spruce top,Brazilian rosewood back and sides,and mahogany neck.

I have a lot of wood,and want to get back to building guitars more than I have for several years,being a toolmaker. Now that I'm retired,I will be able to get back to it.

I'd like to NOT take orders,and just build what I want to,and offer it for sale when it's done. I'm just not good at saying no. Google George Wilson,guitar maker.

[Danny Burns]

I think this thread needs a few more Wows!!!:eek:

Wow!
Wow!
Wow!

Very nice work!:)

[Ray Gardiner]

George,

Your work is amazing, we will have to invent some more superlatives to
keep up with you.

Wow!, doesn't seem like enough. :D

Regards
Ray

[Jameel Abraham]

Thanks for the further details, George. So the "chisel" isn't really cutting at all? But rather pressing a v-bottomed groove into the knife line? In other words, you're not removing any wood. I hope I'm getting this right.

[george wilson]

Jameel,yes,the leading edge of the chisel must be very sharp and must cut the wood,or it would just crush the wood. Beyond the cutting edge,it does push the wood aside. True,no wood is removed. The groove is pushed open. That way,it can swell shut when you glue the inlay in.

[george wilson]

Actually,it sounded quite nice. There was no inlay between the bridge and soundhole,where most of the tone is generated on these small guitars. The back is mostly a reflector. Lutes had completely round backs that do not vibrate.

Modern,large guitars get some tonal distinction from the wood the back is made of. These small guitars aren't nearly as wide,and don't generate vibrations the same as modern guitars. Nor do they seem to breathe in and out of their soundholes like larger,more powerful guitars.

[Cliff Rohrabacher]

Very nice.
What??? No link to your website?

[george wilson]

I don't yet have a website,Cliff. This thread is permanently in FAQ. I didn't realize that answering Rob's question would put it out into the "mainstream" thread again. But,maybe some new members haven't seen it.

[Richard Dooling]

You must have been largely self taught. I must say, you had a good teacher and a good student. I'm still in awe of your talent.

Nicely stated.

.

[Sean Hughto]

You are so amazing. Super craftsmanship and super art/design. Great work. Thanks for sharing it.

[Tony Zaffuto]

Yoi, Double Yoi and Triple Yoi!

[Jamie Delker]

Having been a (mostly) serious guitarist for most of my life, I would still almost be afraid to even pick it up! Absolutely brilliant.

[george wilson]

I am surprised that so many haven't seen this guitar!

[Cliff Rohrabacher]

I don't yet have a website,Cliff. This thread is permanently in FAQ. I didn't realize that answering Rob's question would put it out into the "mainstream" thread again. But,maybe some new members haven't seen it.

Well you are up on this site
http://www.cybozone.com/fg/wilson.html

[george wilson]

I know about that site,Cliff. I was asked about 10 years ago by a guy in Richmond,who I have never met,to be on his site. He put up a number of interesting makers,and also used the site to advertise guitar accessories that he sold. Then,later,the site got sold (or,whatever) to cybozone.

I CANNOT get them to get my phone number correct. For YEARS they put up a wrong number. Now,they took it off,and say to contact me at Col.Wmsbg.,where I no longer work!! They are VERY hard to communicate with.

[Rob Luter]

I'd love to see the front of this one:

http://www.cybozone.com/fg/images/wilson11.gif

[george wilson]

I didn't post the front,because I hadn't yet thought out a suitable pickguard for it. It is an 18" wide Super 400 size guitar. Curly maple back and sides,Sitka spruce top. The neck is something special. It is made of genuine Cuban mahogany,just as hard as ebony,and about 100 years old. I still have the plank,which is dead quartered,and about 2" thick and 8 or 9 inches wide. It is beautiful wood.

there is a picture of the inlaid face of the peghead? It would be nice to see it here. If you click on this picture,you will see it,without a trussrod cover.

Meanwhile,it still doesn't have a pickguard,because I put a Johnny Smith pickup on the end of the fingerboard (doesn't touch the top),and a pickguard with volume and tome controls on it. Then,I decided I didn't like the way it sounded as an electric. Electrics are made more rigidly braced than true acoustics,to give better sustain. It would be a great jazz guitar,but I don't play jazz. This is a true acoustic guitar. So,I haven't made a different pickguard for it yet.

Rob,I have a Mac. How did you manage to get pictures off that website,and transfer them here? My inlaid lute is there,and I can't get the pictures off the site.

[Keith Christopher]

The actor went out of favor in a legal dispute with his studio. I have no idea where the guitar now is.I would like to do a book of how to use tools,and maybe include photos of work too,but it would cost a fortune.At my age,it would be good to leave a legacy in print.


George,

Looking for an apprentice ? I am stunned to say the least. The work is spectacular. It is clear the experience and craftsmanship of that is worthy of royalty. Perhaps one day I will make something 1/100th as good as that and it will be a defining moment for me.

Keith

[Rob Luter]

Rob,I have a Mac. How did you manage to get pictures off that website,and transfer them here? My inlaid lute is there,and I can't get the pictures off the site.

I used the insert image function (http://www.sawmillcreek.org/images/editor/insertimage.gif) and inserted the URL (web address) of the photo. The board software uses that as a "pointer" and displays the photo in the post.

My wife (Mac User) tells me you should be able to place your cursor on the photo, hold the mouse button down for a moment, then drag the photo to the desktop. This will copy the photo to the desktop where you can then save it wherever you want. I tried to send you a PM but it looks like your message mailbox is full. Let me know if that doesn't work. If not I'll harvest all the photos from the site and email them to you.

I've been a guitar enthusiast for about 30 years and I really like your work. The big archtops are a personal favorite and I hope to have a spruce top jazz guitar one day. Here are my three main "users".

http://farm4.static.flickr.com/3599/3562739066_95d951ebba_b.jpg

[Bill White]

I was gonna scream Photoshop, but thought that it wouldn't work too well......:D
George, that is amazing.
Bill

[george wilson]

Oh! You thought I could have photoshoped the guitar in? No,I am too ignorant to know how to do it that way,and had to do it the hard way,as usual!!:)

[Jim Koepke]

George,
Did you get the PM I sent you on ways to save images from the internet?

jim

[george wilson]

Yes,Jim. Thank you. I also cleaned out my mailbox some. I haven't tried your suggestions yet,but have kept your instructions. Thanks again.

[Van Huskey]

There are just some things that deserve to be brought from the past with a bump, I think this one is one of them.

George, your work is magnificent!

[george wilson]

I still have some leftover bits and pieces of making this guitar in my shop. I should photograph and post them if anyone would like to see them.

I've got original drawings for at least the ebony line inlay on the guitar's front,and I think I have drawings for the inlays on the guitar's back. They are full size,though,and I couldn't get the full length into the scanner. I could just scan what I can. Also,I have the "reverse" cuttings from a part of the guitar's back. Not in good condition,but recognizable. It's rather curled a bit like a potato chip. The marquetry was done by sawing through the walnut and light wood. then,the pieces were slip fitted into their contrasting backgrounds. My leftover shows the vine being brown,and the light wood as the background. I have found pictures of a few original guitars made as contrasting mates to each other.

I'll have to figure out again how to post pictures. Anyone care to see the left overs?

[Jim Koepke]

I'll have to figure out again how to post pictures. Anyone care to see the left overs?

I would. If you need information on how to post pictures, it is actually easy.

Here is an edit of what I wrote for someone a few days ago:

The software will size the images for you, so there is no longer a need to have software shrink the images..

Click on the paper clip icon above the message composition field.

It will open a dialog box with two "Choose File" buttons. Click on one of these and then navigate your computer file system to the image you want to upload.

I often find that clicking on the upload button doesn't take. I keep an eye on my modem and if I do not see the lights flickering within a few seconds of selecting the upload button, it gets a second click. Then the lights stop flickering for a moment while the software resizes the images. Then a few more flickers and the window changes to show that the images are there. If you have posted the same image previously, it will not allow the image being uploaded again without your tricking the software.

A total of 8 images can be uploaded 2 at a time.

It is possible to add images later. You have to select edit and then when that window opens there is an option to "go advanced" selecting that should then open a page with a more complete message composition field that will allow the addition of images.

jim

[Tristan Williams]

George, if you were to start writing books then I would buy every single one on release day. I think its a fantastic idea!

It is also possible these days to write a book and self-publish using print-on-demand services. I have purchased a few excellent but incredibly niche books that are from such places.

[Rick Markham]

George, I would love to see anything that you have to offer. You definitely should write a book, I am glad your always willing to share your knowledge here with all of us on the creek.

Van thanks for bumping this thread, not sure I read all the way through it in the FAQ section. It definitely deserves a good revisiting.

[David Weaver]

I'd like to NOT take orders,and just build what I want to,and offer it for sale when it's done. I'm just not good at saying no. Google George Wilson,guitar maker.

I think it would be fabulous if you built some standard Dreds, parlor guitars and OM style guitars with an eye on making them plain, with a sheer finish or rubbed finish and plain woods.

The trouble is, people want to pay several hundred dollars to get a neck and peghead bound, and several thousand for other things, and they want the gloss lacquer finish for high dollars.

Far and away the best sounding dred I've ever had was a washburn D46. It was $700 with a TKL case in 1996 - new, and it had the same problem as every other stripped down model guitar. Playability wasn't that great, because they apparently didn't want to spend time being precise on a guitar that cheap. Action was low for the first five frets, but increasing in height fast. The moon could've fit between the strings and the fingerboard at the 14th fret.

I don't know what you could build a stripped down guitar for, if it could be in the $3,500 price range. If you could build a guitar that sounded like my cheap USA made washburn but had the playability and intonation that a player would want, you wouldn't be able to keep it in stock if it got any press at all.

I have ordered a couple of customs when I was younger, expecting more out of the builders than they were prepared to provide, apparently, ordering guitars in the $2,500 range hoping the builder would make an earnest effort (this is obviously a very cheap custom guitar, but I wasn't ordering dragon inlays or anything like that and expected that the builders would focus on the things a player would want, or they would want if they got a plain guitar for $2,500).

The only custom maker that I ordered from who ever met my expectations was Geoff Stelling, and that is still semi-custom, and not true custom. It was also a banjo, but his shop did the job the way I would've done it if I was able to do it from a player's point of view.

The best acoustic guitar I've gotten, out of five, is a bourgeois guitar that I bought off the rack. It's so much better than the "custom" guitars that I've bought that it's ridiculous, because whoever was building it understood what a person playing guitar wants.

Anyway, if you could make a plain guitar with a few different backs and sides, sheer finish to let the thing really bellow, good voicing, good semi-low action, a sheer ebony fingerboard and a modern thicker fret for playability, I'll bet you'd get a lot of clientele who play a lot, and their praise would be effusive.

[David Weaver]

sweet - another one of george's guitars with brazilian back and sides. It is, of course, not mine nor does it belong to anyone I know, so I'm not attempting to post it for anything other than adding to the list of things that george has made:

http://www.musiciansbuyline.com/cgi-bin/webstore.cgi?page=Wilson-Acoustic-Guitar-for-sale-0801

[John Coloccia]

I'm seeing this thread for the first time. George, that guitar is ridiculous! I'll never know where you find the patience for that. Very nice, very nice :D

[george wilson]

Surprised you found another of my guitars for sale,David. I believe I made that one in the late 80's or early 90's. Can't recall the date as I made several guitars in that time period.

Must be another of those guitars I "didn't make"!:)

I didn't put those pickups in it. It was only acoustic when I sent it out.

I made only classical and flamenco guitars for many years,other than what I made in public in Williamsburg,and rarely,as the ad says,made cutaways on the steel stringed ones.

[Van Huskey]

Would love to see anything regarding this or any of your other work George!

I am also with Tristan and if you produce a book I will buy it, even if it is a part of woodworking I am not personally interested in, such as instruments.


John, there is more of George's incredible work around here. Go to the Neander FAQs and at the bottom of the page they have a list of several of his threads. I could devote several lifetimes to woodworking and not be worthy of carrying George's tool belt. But, it is probably because he has a more rigid bandsaw than me.... just jokin' George. :D

[george wilson]

My rigid bandsaw is unequivocally the reason for any success I have had in woodworking.

Let that be a lesson to you,Van. Except,I have still only the 14" old Delta in use,and really MUST get my 20" Delta going soon. The weather has been so hot I haven't wanted to haul it outside and finish painting it. Maybe this fall.

I have been expending my energy the past several days helping my wife to finish a major project. I'll take some pictures of leftovers soon.

[george wilson]

Here are a few copies of my original drawings for the back of this inlaid guitar. I had to copy them in halves because the guitar body was too long to scan. I don't know where the drawings for the sides have gotten to. With the LARGE accumulation of drawings and other left overs from 39 years,I can't lay hands on everything.

My wife labeled the picture 1970,but it isn't QUITE that old. I worked in private in 1970,making the large harpsichord,cittern,guitar,and other things to open the Music Teacher's Room. Opened this shop in 1971.

These designs are my original drawings,but the details of the vine had to be based upon original 17th.C. work in order to be meaningful to the period.

The guitar's back is vaulted as you can see in the color pictures of it. This means that the back was made in staves,like a barrel. The joints in walnut were very hard to see when it was put together,the white vines being so dominant.

On other guitars with plain staves,the staves were emphasized by having black-white-black(or other colors)of purfling between them.

The 4 staves were just the outer layer that you could see. Beneath the staves was another layer of staves whose seams did not line up with the other seams,making a strong back that would not come apart at the glue lines.

I have included another color picture from the book "The Craftsman In America". This shows a guitar with a vaulted back under construction on the bench. There is an original 17th.C. Italian guitar hanging behind me,and my inlaid lute behind that.

To my left,you can see the little drawknife that I posted pictures of many months ago.

Notice the nails clamping the staves under construction. They are horse shoe nails. I used them because they have flat sides,and do not make little dents in the wood. The mold is made out of thick pine,with the shape of the vaulted back carved into it. When I made the sides,I'd carefully plane down their edges without cutting the mold,so they'd fit the curved back.

When I got this room that became the Musical Instrument Maker's Shop,it was bare. Marcus and I had to make all the shelves and chisel racks. At least the Paint Shop painted them.

[Van Huskey]

Thanks, George, for the glimpse into the process!

I hope you indeed find the time (and money) to commit your story to print. It is sad we live in a society where just being a "Real Housewife" gets you a book deal, ghost writers and a spot on the NY Times best seller list and stories of real substance and immense talent like yours get lost.

[Rick Markham]

Thats really amazing George! It's hard to fathom the intricacies of that inlay. Thats an awesome pic of you in the shop, surrounded by beautiful tools and instruments. I too, like Van, hope that you get the time to document your life's endeavors, I have no doubt that it would become an important reference to many craftsman in many different areas. But in the meantime keep telling us how to do it ;)

[george wilson]

Thanks,guys. I will post more pictures. My camera's battery had gone dead yesterday after MONTHS of not being charged! Today,it is dark and rainy from the hurricane. I have some left over inlay cuttings from that guitar. They are on poor but recognizable condition. I'll photograph a few things when I can.

If anyone wants to use the designs for non commercial use,feel free. I'm too old to do it again!! Have had neck and back surgery,and need new lenses in my eyes from cataracts. I can still do it,but the lenses will help,and there's no getting away from constant pain. Doing close work for many years can mess you up.

What I do when planning an inlay,is to first decide what the elements should be like: 17th.C. Italian in this case,whatever. If it's going to be a period piece,you need to get these details right,or it's a total loss if you just make it up.

You can just make it up if the piece is to be a modern,free style piece. If it's period,do a good amount of research.

What I do next,is to fill the area to inlay with graceful U,S,and C curves,and spirals,if needed. Make sure the design fills the space EVENLY. Get back from it,and take a quick look. Make sure your basic curved "vine"paths fill the space evenly. Then,populate the vine with the decorative elements. Always make sure that the design isn't getting too busy somewhere,and too sparse elsewhere.

There is no way around it,you have to be able to draw to do a good design,end of story. If you can't, just content yourself with plain things. Actually,for my own use,I like plainer work. Doing this type of work is fun and challenging,but doesn't fit into my house or life style.

[Jim Koepke]

George,

Thanks for sharing. I think a documentation of your life would make a good story to share with the rest of the world.

jim

[george wilson]

By the way,I never use the actual drawing to do the cutting. I Xerox it,and glue the Xerox to the veneer I plan to cut. This way,I save the original drawing for re use,or in case I mess up,crack the veneer,etc.

To keep the veneer from breaking,I used to glue a sheet of Caslon Vidalon parchment type tracing paper to it. This was sanded off after the inlay was permanently glued down. There are other parchment,or vellum type papers available. The parchment type papers cost more than standard tracing papers,but they are quite tough,and don't tear as easily. Some woods are very brittle,and need to be glued to tracing paper,or the delicate vines,etc. will just fall apart while you are cutting them out.

[Chris Vandiver]

I really like how, on the back of the neck in the repeating "heart" pattern, each section is subtly different than the previous section. Very pleasing to admire and the craftsmanship is truly remarkable.

[Dan Andrews]

I realized you are knoledgeable about woodworking, and that you made guitars, but had no idea you worked at this level. This work of art takes my breath away. I doff my cap to you sir.

[george wilson]

Thank you,Dan. There are more pieces if you search the FAQ section of Neanderthal. I was looking for where it was that I posted a good number of my works here. They are scattered at about pg.112,but you'll have to look around for several pages to see them,if you want to see more.

[Derek Cohen]

I realized you are knoledgeable about woodworking, and that you made guitars, but had no idea you worked at this level. This work of art takes my breath away. I doff my cap to you sir.

Hi George

I know you do work at this level - seen plenty of it - but it still takes my breath away!

Regards from Perth

Derek

[george wilson]

Thanks,Derek. I think I showed Chris Vesper the inlaid lute when he was at my house. Ask him if I did. I can't remember now,with so many other things to look at.

[Ernie Miller]

The actor went out of favor in a legal dispute with his studio. I have no idea where the guitar now is.I would like to do a book of how to use tools,and maybe include photos of work too,but it would cost a fortune.At my age,it would be good to leave a legacy in print.

George,

First of all, as so many others have said, this guitar is absolutely stunning. It would be a shame to not document your work in a book. Have you considered writing an e-book? I've just finished a book on harpsichord construction for the first time builder using the htm. format. It's the only way I was able to write a book with the detail (and therefore, length) necessary without it costing big dollars to produce - or to buy for the end user. I ended up with over 950 screens and over 850 photos and illustrations. I doubt there is any way to get this published at a price anyone could afford. I'm afraid the same might apply to you. It's not exactly leaving your legacy in print - but it's pretty close.

Ernie

[george wilson]

Ernie,I'd have to be a LOT more computer savvy to attempt an on line book. My wife is,but she has her(our,mostly her) home business to run,making jewelry. this means she works twice the normal hours to earn the same money as a normal job.

[Ernie Miller]

Ernie,I'd have to be a LOT more computer savvy to attempt an on line book. My wife is,but she has her(our,mostly her) home business to run,making jewelry. this means she works twice the normal hours to earn the same money as a normal job.

George - PM sent.

Ernie

[Matt Lau]

I am surprised that so many haven't seen this guitar!

If you posted this on the Acoustic guitar forum, it'd spread in a heartbeat.
I was thinking of emailing a link to Kathy Matsushita or Matoko at Crane guitars.

Compared to your work, I'm definitely a hack. This guitar is impressively beautiful, incredibly ornate, yet undoubtedly tasteful.

Please, please make a book...if not in furniture, in lutherie!

[george wilson]

Mat,feel free to email the picture wherever you wish. I don't know how to do it.


the
crane guitar site is very interesting. He does very nice work. I really like the parchment rose. Also,the beautiful fret work applied to his bridges.

We had a 1680 Matteo Sellas guitar in the collection at Col. Williamsburg. It is shown hanging behind me in the picture of my shop on page 5 of this thread. Eventually they sold it. Guess they didn't think it was typical of instruments in the colonies.