Click on Photo to view full size

 Yet more clamping..... And.....we're done!


Well, not quite.

The bracing looks to be shaped, but it is just rough. Now's where the fun starts!      
 Again, for the wood workers among you, here's how we scallop the bracing. 

Start at one end, make a few cuts...

...then flip it around, and cut from the other end, releasing the waste. 

If we tried to get it all from one end, it would likely just split right through and ruin it.

 This is what we want! Now, to do the rest.......      
The braces are all profiled to a triangular shape. This is a freebie, as the brace's strength comes mostly from its height, not its width. This way, we can lighten the bracing without loosing much stiffness. Where the small plane can't reach, the chisel does the job. In fact, I use the chisel for 90% of the shaping.

Again, the "trick" here is to 'read' the grain, and come at the wood from each end, if needed, to prevent tearing out the wood. A better-than-razor-sharp chisel is also a must.

And here we have the first ever shot of the PMTE. The little brace behind the bridge plate was nicknamed the "Proulx Magic Tone Enhancer" by Bryan Kimsey, who was the first person who noticed it. It's "magic" because, in theory, it should ruin the guitar, but instead, it really does liven things up.

For two reasons: first, it stiffens the bridge plate area, but most importantly, it adds some mass where it can do the most good. Yes, mass is good, in the right place......


  I signed the top, for future reference. Wouldn't it be cool if all our vintage guitars had this? There'd be fewer arguments of the instrument's age! Another shot of the PMTE.  Like the back, the top's braces are let into the sides and linings. The difference here is that we do it all blind, as we can't go inside to see if they're all correctly set, so this takes a bit more time.      
  A little file work to fine tune the notches...... ...and the final test fit look great!  On to to Go Bar deck, once again. the body is in it's form to better hold its shape.      

Inside the guitar is the spreader to make sure the sides are in contact with the form...


the spreader comes out carefully after the glue has set. Got to be careful not to chip out the fragile spruce at this point!

 And now, the body!  Looks kinda bare without bindings, don't it?  This is where everything slows to a crawl....

Up until now, we've moved along at a good clip, but from here on, the goings are pretty tedious.

Previous page Next Page


Website Designed & Maintained by David A Dugas and Mario Proulx