Elaboración y montaje de componentes

• Mástil y clavijero
• Doblado de los aros y contraaros
• El fondo de dos piezas. Tapajuntas y barras de refuerzo
• La tapa armónica. Taladro de la boca. Roseta. Varas de refuerzo y bajopuente
• Colocación de filetes o cenefas
• Batedor, cejuela y trastes
• Puente
• Clavijas
• Cuerdas

5: The Neck

5.1: Building the Neck Blank

5.2: Cutting the Neck Tenon

• 5.2.1: Marking Out
• 5.2.2: Making the Cuts

6: Thicknessing and Joining the Panels

6.1: Squaring and Surfacing the Panels

6.2: Tap Testing the Panels

6.3: Joining the Panels

• 6.3.1: Shooting the Edges
• 6.3.2: Joining the Panels

6.4: Rosette Making

• 6.4.1: A Traditional Rosette for a Steel String Guitar
  • 6.4.1.1: Making the Rosette Former
  • 6.4.1.2: Squaring the Ends of the Shell Segments
  • 6.4.1.3: Assembling the Shell Ring
  • 6.4.1.4: Inlaying the Rosette into the Sound Board
  • 6.4.1.5: Levelling the Rosette
• 6.4.2: A Contemporary Rosette for Steel String or Classical Guitar
  • 6.4.2.1: Producing a Burl Slice
  • 6.4.2.2: Routing the Rosette Blank
  • 6.4.2.3: Inlaying the Rosette into the Sound Board

6.5: Final Thicknessing

6.6: Sound Hole Reinforcement Patch

• 6.6.1: Assembling and Shaping the Patch Blank
• 6.6.2: Gluing Down the Sound Hole Patch

6.7: Cutting Out the Sound Hole

• 6.7.1: Tapering the Inside Edge of the Sound Hole

6.8: Thicknessing the Sides

7: Making Braces

7.1: Preparing Back Braces and Conventional X-Braces for Tops

• 7.1.1: Machining the Curve on the Base of the Brace
  • 7.1.1.1: Router Method
  • 7.1.1.2: Hand Tool Method

7.2: Making Lattice Bracing

7.3: Making Falcate Braces

• 7.3.1: Preparing the Laminates
• 7.3.2: Bending the Laminates
• 7.3.3: Trimming the Braces to Size
• 7.3.4: Tertiary Braces and Sound Hole Bracing
• 7.3.5: Upper Face Brace
• 7.3.6: The Bridge Plate

8: Bending the Sides

8.1: Using a Bending Iron

8.2: Using a Side Bending Machine

8.3: Bending a Venetian Cutaway

8.4: Fitting the Sides to the Mould

• 8.4.1: For a Non-Cutaway Guitar
• 8.4.2: For a Cutaway Guitar

9: Making the End Blocks and Linings

9.1: Making the Tail Block

9.2: Making the Standard Bolt-On Headblock

9.3: Making the Bolt-On, Bolt-Off Headblock for a Venetian Cutaway

9.4: Making the Linings

• 9.4.1: Preparing Top Linings
• 9.4.2: Preparing Back Linings

9.5: Making Side Splints

9.6: Making the Mass Support Blocks

10: Assembling the Sides, End Blocks and Linings

10.1: Gluing in the End Blocks

• 10.1.1: For a Non-Cutaway Guitar
• 10.1.2: For a Cutaway Guitar

10.2: Fitting the Linings

• 10.2.1: Marking the Reference Lines
• 10.2.2: Installing the Laminated Top Linings
• 10.2.3: Fitting the tail block splint
• 10.2.4: Marking out and trimming the side profile to take the back panel
• 10.2.5: Installing the back linings
• 10.2.6: Fitting the side splints
• 10.2.7: Marking out and trimming the side profile to take the top panel
• 10.2.8: Final shaping of the side’s top and bottom edges

11: Bracing the Panels

11.1: Bracing the Back

• 11.1.1: Radial Braced “Live” Back
  • 11.1.1.1: Installing the Marriage Strip
  • 11.1.1.2: Shaping the Marriage Strip
  • 11.1.1.3: Letting in the Transverse Braces
  • 11.1.1.4: Gluing in the Braces
  • 11.1.1.5: Scalloping the Back Braces
• 11.1.2: Ladder Braced Back

11.2: Bracing the Top

• 11.2.1: Bracing Styles
• 11.2.2: X-Braced Top
  • 11.2.2.1: Layout the Brace Positions
  • 11.2.2.2: Bridge Plate and Upper Transverse Brace
  • 11.2.2.3: The X-Braces
  • 11.2.2.4: The Upper and Lower Face Braces
  • 11.2.2.5: The Finger Braces
  • 11.2.2.6: Carving the Braces
  • 11.2.2.7: Carving the Finger Braces
  • 11.2.2.8: Carving the X-Joint
  • 11.2.2.9: Scalloping the Outboard Ends of the Braces
  • 11.2.2.10: Tapering the Braces
  • 11.2.2.11: The Linen Patch
  • 11.2.2.12: The Sound Hole Braces
  • 11.2.2.13: Note on J45 Back Bracing
  • 11.2.2.14: Note on Post Finishing Brace Tuning
• 11.2.3: Fan Braced Top
  • 11.2.3.1: Layout the Brace Positions
  • 11.2.3.2: The Fan Braces
  • 11.2.3.3: Arching the Bottoms of the Braces
  • 11.2.3.4: Making the Bridge Plate
  • 11.2.3.5: Rebating the Fan Braces
  • 11.2.3.6: Gluing on the Bridge Plate
  • 11.2.3.7: Gluing on the Fan Braces
  • 11.2.3.8: Carving the Fan Braces
  • 11.2.3.9: Gluing on the Closing Bars and Twin Lower Transverse Braces
  • 11.2.3.10: Gluing on the Upper Transverse Brace(s)
  • 11.2.3.11: Shaping the Closing Bars and Transverse Braces
  • 11.2.3.12: A Note on Back Bracing for Fleta Style Guitars
  • 11.2.3.13: Note on Post Finishing Brace Tuning
• 11.2.4: Lattice braced top
  • 11.2.4.1: Laying out the lattice position
  • 11.2.4.2: Gluing down the lattice
  • 11.2.4.3: Carving the lattice
  • 11.2.4.4: Overlaying the lattice with carbon strands
  • 11.2.4.5: Adding the final braces
  • 11.2.4.6: Note on back bracing
• 11.2.5: Falcate braced top for a 12th fret neck joint steel string guitar
  • 11.2.5.1: Laying out the bridge plate position
  • 11.2.5.2: Drill the bridge pins holes
  • 11.2.5.3: Glue down the bridge plate and primary braces
  • 11.2.5.4: Secondary, Tertiary and sound hole bracing
  • 11.2.5.5: Shaping the braces
  • 11.2.5.6: Overlaying the bracing with carbon strands
  • 11.2.5.7: The upper transverse brace
  • 11.2.5.8: Note on back bracing

12: Assembling the Top, Back and Sides

12.1: Fitting the Back Panel

12.2: Fitting the Top Panel

12.3: Gluing the Back Panel to the Rims

12.4: Checking the Neck Geometry

12.5: Gluing the Soundboard to the Rims

12.6: Thinning the Edges of the Top Panel

13: Binding and Purfling

13.1: Making the Bindings

13.2: Cutting the Binding and Purfling Rebates

• 13.2.1: Planning the Binding and Purling
• 13.2.2: Cutting the Stepped Rebate

13.3: Bending and Fitting the Bindings and Purflings

13.4: Applying the Binding and Purfling

13.5: Levelling the Bindings

13.6: Note on Fitting Shell Purfling

13.7: Fitting the Tail Strip

• 13.7.1: Making the Tail Strip
• 13.7.2: Chiselling the Tail Strip Channel

14: The neck, Part 2; Fitting, and preliminary shaping

14.1: Setting up the guitar in the holding fixture

14.2: Routing the body mortise

14.3: Fitting the neck

• 14.3.1: Adjusting the tenon for width
• 14.3.2: Trimming the tenon to length and depth
• 14.3.3: Correcting the yaw angle
• 14.3.4: Correcting the pitch angle
• 14.3.5: Routing the truss rod slot
• 14.3.6: Drilling the mortise for the bolt bar

14.4: Drilling the holes for the head block bolts

14.5: Counterboring the neck block

14.6: Drilling the bolt holes in the neck

14.7: Preliminary shaping of the neck

• 14.7.1: Establishing the longitudinal thickness taper
• 14.7.2: Thicknessing the headstock
• 14.7.3: Blending the head/neck curves
• 14.7.4: Preliminary carving of the heel

15: Making the Fretboard

15.1: Preparing the Fretboard Blank

15.2: Cutting the Fret Slots

• 15.2.1: Fret Slot Spacing
• 15.2.2: Low Technology Fret Slotting
• 15.2.3: Higher Technology Fret Slotting

15.3: Machining the Nut Ledge

• 15.3.1: Nut Ledge for a Fully Compensated Nut
• 15.3.2: Nut Ledge with No Nut Compensation

15.4: Radiusing the Fretboard

15.5: Tapering the Fretboard

15.6: Fretting

• 15.6.1: Choice of Fret Wire
• 15.6.2: Preparing the Fretboard for Fretting
• 15.6.3: Pressing in Frets
• 15.6.4: Hammering In Frets

15.7: Trimming the Body End of the Fretboard

16: The bolt-on, bolt-off neck

16.1: Routing the neck extension pocket

16.2: Re-establishing the truss rod groove in the neck extension

16.3: Fitting the T-nuts to the neck extension

16.4: Special requirements for the bolt-on bolt-off neck for classical guitars

17: Making the Adjustable Truss Rod

17.1: The Single Acting Truss Rod

• 17.1.1: Making the Adjusting Nut
• 17.1.2: Making the Stop Block
• 17.1.3: Making the Truss Rod

17.2: The Double Acting Truss Rod

18: The Neck Part 3; the Head Veneer, Head Shaping, Final Carving and Heel Cap

18.1: Adding the Ears

18.2: Making the Head Stock Laminate

18.3: Gluing the Head Stock Laminate

18.4: Shaping the Head Stock

18.5: Fitting the Tuning Machines

18.6: Gluing on the Fretboard

18.7: Shaping the Neck

• 18.7.1: Squaring the Neck
• 18.7.2: Drafting the Cross Sectional Profile of the Neck

18.8: Fitting Heel Cap

18.9: Installing the Fret Markers

• 18.9.1: Final Fitting of Neck to Body

19: Finishing

19.1: Surface Preparation

19.2: Grain Filling

• 19.2.1: Using a Traditional Oil Based Grain Filler
• 19.2.2: Using an Epoxy Fill
• 19.2.3: A Note on Sanding Technique

19.3: Finish Application

• 19.3.1: Equipment Set Up and Technique
• 19.3.2: Spraying Pattern and Schedule

19.4: Sanding and Buffing

19.5: French Polishing

19.6: Assembling the Neck and Body

20: Bridge, Saddle and Nut

20.1: The Bridge: Requirements

20.2: A Contemporary Bridge for a Classical Guitar

• 20.2.1: Gluing on a Classical Guitar Bridge

20.3: A Contemporary Bridge for a Steel String Guitar

• 20.3.1: Gluing on a Steel String Guitar Bridge
• 20.3.2: Routing a Saddle Slot with the Bridge Attached

20.4: Final Detailing Of the Bridge

21: Fitting the Tuners, Nut and Saddle

21.1: Tuner Requirements

21.2: Fitting Sealed Tuners on a Steel String Guitar

21.3: Fitting Slot Head Tuners on a Classical Guitar

21.4: Fitting Planetary Pegs on a Neo-Classical Guitar

21.5: The Nut

• 21.5.1: The Nut Blank
• 21.5.2: Machining the Compensated Nut
• 21.5.3: Fitting the Nut

21.6: The Saddle

• 21.6.1: Making the Saddle
• 21.6.2: Compensating the Saddle
• 21.6.3: Compensating a Conventional Saddle