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@paul - these guitars are fantastic! Also - the last one in the series of 7!
That blue guitar is a masterpiece. Someone should snap it up - it's fantastic.
Keep making the instruments like this man! (also - keep playing like that as well - for those that don't know - Paul can really play as well as building guitars)
Cheers,
Ben
In my continued efforts to make not traditional Selmerish guitars I just redesigned my neck joint. I was trying to think of a different way to cut the V joint I was using and then ended up with something completely different. I really like that V joint.
Ironically this looks more like the Selmer neck joint than anything I've done so far but it's sort of the opposite. I was totally not trying to do something like the Selmer joint but ended up with something that's sort of the mirror image of the Selmer joint. Which tbh I didn't understand until now.
I'm impressed with the 3D print. How long does something like that take?
Did you know that Nataly from Baltimore printed an electric 3D violin?
I was wondering though, your neck joint looks super cool but I wonder does it have to be that complex? Same with Selmer style, V joint etc... On my guitar Risto did a simple sandwich sort of, I think technically this would fall under scarf joint.
What I think is so cool about it is you don't have to worry any sort of angles at the headstock. You keep your neck plank straight as it is and cut a V between the neck and headstock and join them together. Simple and effective, no? I suppose cutting a V and making sure it fits perfectly isn't that easy but it still seems simpler.
But, nowadays he's using Selmer style joint too, says everybody just wants straight up copy.
That print took 4 hours I think. I have a really nice new machine, it was about $800. A Bambu PS1. On my old machine that would have taken like 12 hours.
Plastic has all the tonal characteristics of a newspaper but I could see an electric instrument working well. This is the first time I've printed a neck like that. It's super helpful.
A scarf joint is fine, I don't have anything against it. It's not to me a particularly elegant joint, sort of perfunctory. What I designed here is probably marginally to significantly stronger as there's a lot more surface area and less end grain glueing. But scarfs are pretty strong.
Mainly scarfs are hard to CNC on a 3 axis machine because you have to do it with the neck glued on. The V joint and this joint I just designed can be machined in 2 pieces and then glued afterwards. I may glue the neck before to do the volute. I haven't figured that out yet.
I also like being able to do two contrasting woods between the neck and headstock which you can't really do with a scarf.
I'll have to check Natalie's violin. Ive seen some acoustic violins that sounded...ok.
Here it is, she's super crafty
That's interesting I'll watch the whole thing later.
PLA with carbon fiber isn't significantly stiffer than regular PLA. And PLA is not very heat tolerant so can melt at fairly low temps around 110f I think.
But that's pretty cool. For various reasons I wouldn't print a guitar neck but that give me some ideas.
Why use a splice at all? It seems like a lot of work for no particular benefit. If it's tradition, OK, I get that. Steel string guitars with much more string tension have used a spliceless neck for many decades with out problems. I don't think either the Dupont or the Favino I once owned had a spliced headstock. I appreciate the craft involved, just curious as to why.
Tradition is ok, but the dovetail neck joint is traditional too, and I'll never buy another guitar that has one. Bolt on makes so much more sense and it has basically been perfected by modern builders.
I mean Gibson uses one piece of wood without a splice and their headstocks are famous for breaking off in a strong wind. You can do it but it's a weaker to make an angled headstock and the repair if/when it breaks is difficult and expensive.
Martins afaik have scarfed joints. The Martin "volute" is actually a vestigial ornament that comes from their original bird beak neck joint that is a sort of super V joint.
Plenty of guitars have one piece necks. A lot of guitars have headstocks that are broken on the grain line too. You can do whatever you want. Plenty of people who build amazing guitars do that.
It also demands thicker pieces of wood and is a pretty expensive way to go.
I had one of my V joint guitars fall neck first from about 7' in the air and bounce off the floor without a scratch. With a Gibson that would have been like easy a $600 repair.
https://www.strangeguitarworks.com/repairing-a-broken-gibson-headstock-and-adding-a-volute/
No, no. Not a challenge! I like your guitars and would very much like to try out the blue one. I build all sorts of things myself, and I'm always looking for ways to build quicker and better. Just curious, that's all.
I have owned many Martins, mostly style 18. None had a spliced neck. My current guitar is a style 38, it has the volute so it's hard to tell, but the necks in a style 28 kit that you can get from Martin are 1 piece of mahogany. I read the article and I admit, I had no idea that Gibson acoustics were so bad for this. What great craftmanship on that repair!!
Apologies man. Sometimes I'm pretty sure I sound like an asshole online.
Just googling, maybe I'm wrong about Martin.
I should say plenty of great people who I respect greatly and I've learned and stolen from use one piece necks. You still have to laminate the heel block. I do think it's significantly weaker and harder to repair than a scarf or the neck joint I just designed.
If I wasn't using CNC I'd probably do a scarf but it's a lot more complicated on the CNC for reasons that are hard to explain. But I like being able to use two different woods in the neck. And I like a cool looking joint. "Elegant".