I found some photos we had made taken to show the customer progress on the guitar. Some members here have asked to see them.
I have reached the limit of pictures. I'll add a few others as the thread goes along.
The sides in the mold are in 1 picture. I'd like to mention that even the plywood is vintage!! Williamsburg was always throwing stuff out. This plywood was from an old cabinet. It is so old that it actually is 3/4" thick!!
The bookmatched 1960 vintage Brazilian rosewood is seen in a picture.
The customer wanted a bolt on neck. You see the holes in the mahogany neck block. I put a 1/2" brass rod vertically up through the heel of the neck. At its top,the truss rod is threaded through it. The 2 hardened socket head cap screws thread into it farther down. Some makers use those screw in metal thread inserts. I don't think they are strong enough,and the bottom one could split the heel of the neck.
I assure you,the location of the brass is not where the guitar vibrates. The bolt on neck does make taking the neck off easier,though this is the first one I have made that way.
The age of the spruce is also pictured. A+,1968.
The bracing of the top. Notice that I do something I don't think others do. I glue a thin strip of bias tape inside the center of the top. This adds very greatly to the strength of the joint. I am certain it can never come loose. It weighs so little,I doubt very much if it affects the tone. The tape also is added at the ends of the cross braces,where they enter UNDER the X brace,where the X brace crosses,and at the ends of any braces that terminate without going under the liner blocks on classical guitars. The tape also runs along both edges of the maple bridge plate. Bridge plates can come loose. This one won't so easily. My bridge plate is about 1/2 the width of some,and some use heavy rosewood for it. Why?? That is a real tone killer. Mine is built like the pre war ones.
I use individual liner blocks rather than kerfed strips. It is a little touch that makes the edge joint of the top and back vibrate a little bit more freely. Also less likely to come loose as a strip might for any reason. I borrowed it from the best Spanish makers,who use individual blocks under their tops.
You can make out the vertical glued thicker tapes that go from top to back,to help stop cracks from spreading should the guitar be hit on something.
Some makers use a vertical wood strips,but that is not a good idea,as the sides can grow and shrink being side grain,while wood strips cannot do so much. Sooner or later,they will pop loose.
The soundhole was fitted pearl pieces around it between the purfling.
In the picture of the bracing,you can see a little brass brace plane with a palm knob I made for small work. Also,one of my old 1965 Marples chisels,and a bit of a boxwood handled Marples.