Sal's Flamenco - Trimming the overhang of the Paulownia back

The braced Paulownia back has just been trimmed of its overhang (extra width) to the new traced outline from the body. The back will be set aside, ready to be assembled to the body.

Now the Paulownia back is flush to the sides, essential for the assembly gluing step.

Sal's Flamenco - Notching the sides for assembly

Here are the notches on the sides I was referring to, in my last post. I needed six notches to receive the Paulownia back. The notches are marked carefully before careful removal by sawing and chiselling. Quite a delicate task, as the cut is made right up to the sides.

The notches are test fitted. Results are good.

Sal's Flamenco - Preparing the back for assembly

The spruce brace ends of the Paulownia back is being cut back, by first sawing it down.

The excess ends are cut back with a chisel and clean out nicely so they can be fitted to the body.

All the affected brace ends have been cut back. That leaves notching the linings of the body next, so as to receive the back. Show that on the next post when I get that done.

Guild of American Luthiers

Today, I became a member of the Guild of American Luthiers ( I'm very happy and excited, as I look forward to study more on instrument building.

The effortless expressiive freedom of authentic folk music. See to relive the child in *you*

Nguyen Thi Kim Chung plays a traditional Vietnamese music called "Luu Thuy".
What freedom of expression. Folk music. Refreshing.

Sal's Flamenco - Braced back

Back braces are being shaped with block plane, chisel & sandpaper...

Lateral close-up view.

The X-braces are capped with a rosewood blank, so the up-notch brace is strengthened. Here being shaped with a chisel.

Finished with #240 garnet sandpaper.

Sal's Flamenco - Bracing the back

These are the arch offsets I used for the side-to-side arch for the back of this guitar.

The back graft is being notched to an interference fit for the back braces with a razor saw.

The notches are carefully shaved away with a slim chisel.

Pictured here are the necessary notches for the back of the Sal's flamenco.

The first back brace is being glued. The orientation of clamps are suited so the brace is glued upright, because cam clamps pulls the object toward its jaw as the lever is applied.

The slight glue squeeze-out must be clean out with a chisel. More care must be taken, because the back is now arched, so as to avoid digging the ends of the chisel into the back. A slim chisel does help a little, but still.

Here, the X-brace with the up-notch is first glued. I have fitted the other X-brace with it, but glue is not applied. this ensures the perfect accomplishment of the desired angle of the X.

The brace is glued to its planned position.

Due to the arches of the back braces, a flexible backing slat is stick on to the opposite side, while each back brace is clamp during gluing operation. I use a brown hardboard, commonly found in art stores.

Now the other X is glued.

The final back brace being glued. Time to call it a day.

Sal's Flamenco - Bracing the back (back graft)

The spruce braces are being prepared and rough layout on the back.
X-braces will add some needed stiffness. It shows the character of the top more.

The centreseam is reinforce with cross-grained spruce called a back graft. It it now being glued.

The back graft is processed to its height...

...and rounded contour. Sanded down to #240 grit garnet sandpaper.