Plans are already afoot for the 2015 show, which will be held on October 17 at the Errington War Memorial Hall – same place as last year. The show, the entry to which is free, will start at 10:00 am and go to 3:00 pm. Luthiers showing their instruments will pay a $20 table fee. Shortly after the show ends (at 4:00 pm), there will be a workshop with Michael Dunn, a well-known luthier and musician from Vancouver. Following that, at 8:00 pm, there will be an evening concert with The Paper Boys, a wonderful folk band also from Vancouver. Stay tuned for more details. This is an event not to be missed!
Austalian blackwood (Acacia melanoxylon) is almost identical to Hawaiian koa (Acacia koa). This stuff comes from a fellow luthier, Tim O’Dea, who lives in Corindi Beach, New South Wales (Australia). I traded some red cedar tops for several blackwood back and side sets. It was a good deal for each of us: The local scarcity of cedar in OZ and blackwood in BC rendered each valuable….. to the other guy. The top on this instrument is some sweet Lutz spruce from Shane Neifer in Terrace, BC.
Making the peghead is fun: It’s an opportunity not only to make a peghead that functions well, but also is decorated. Here’s the procedures for cutting the tuning post slots and the tuner roller holes. Later I’ll show examples of how to do the inlay.
I find binding the guitar the most difficult yet a rewarding part of guitar construction. This is particularly so if there is purfling (the decoration inside the binding strip which is the outermost strip(s) on the edge of the guitar.) In this example, the purfling consists of two strips of a 4 part (black, white, blace, white) purfling strip, making the 8 purfling lines. Outside these are 2 binding strips, one brown (consequently not visible) the other ebony.
Growing all around us on Vancouver Island are trees with this kind of figure. This is a large, punchy guitar with this eye-catching figure.
Padauk is fire-engine red in its unworked state, then, under finish, turns an elegant reddish brown. The grain is difficult to work – side bending was a nightmare – but its final appearance is almost worth it.