S: Barbara's Guitar
FC: Barbara's Guitar
1: The following pages represent an overview of the construction of a concert classical guitar. As the instrument slowly begins to take shape beneath your hands and the details which began as only thoughts begin to meld and mold themselves into discrete components gradually coming together into the recognizable shape of the guitar, there is a great reward .... greater yet when it begins to sing. Peter Joseph Liccardello Luthier Peter Joseph Guitars
3: In Sept. of 2011 Barbara contacted me regarding the commissioning of a concert classical guitar. We met on Sept. 29th and discussed the specifics of tone wood, rosette and aesthetic details. She selected an excellent set of Acacia Koa and a custom rosette with a wonderful floral motif. Thus began a rewarding time filled with the many details of construction and the taking shape of an instrument worthy of its heritage.
4: The Build
5: Veneers are laminated for purflings and details | The bookmatched halves of the back are trued on the shooting board and then joined with the center strip of Koa and colored veneer side lines. The top is joined and the rosette inlaid. Koa for the headstock head plate is selected and shown, far left. | First Steps
6: The neck is assembled to the headstock piece and then the slot is routed to receive the carbon fiber stiffener. | The head plate, back plate and veneers are laminated to the headstock, center purflings inlaid, tuner holes drilled and string slots cut. | The Neck
7: Carving the Spanish Heel
8: The Soundboard | Fan braces are located and glued to the top in the radius dish. | The top is the heart and soul of the guitar. With it's bracing it determines the acoustic characteristics of the instrument: specific timbre of it's sound, responsiveness to string input, sustain and clarity.
9: Shaping the fan bracing
10: Bracing complete; upper and lower transverse bars have been added along with closing bars at the bottom of the fan chevron. Additional braces into the upper bout allow more responsiveness of the entire top surface.
11: The sides are bent and the tail block joins the sides. The side tapes, side braces, top and back linings are installed and the top has been joined to the body of the guitar. | Back bracing is installed while the back is in the radius dish. Center strip is installed and all braces shaped and finished with shellac. | The Body
12: The back is joined to the body. | Purfling and Binding ledges are routed on both the top and back. | Top Bindings installed | Back Bindings installed
13: Koa End Strip is inlaid with matching mitered purflings. | Heel Cap is installed with veneer layers to match side purflings. | The Details
14: The neck is carved, planed and carefully shaped to a precise and comfortable profile. This is the primary point of contact with the instrument and must provide an effortless interface for the player.
15: The Fretboard is slotted, cut and routed to profile. The frets are then installed and the Fretboard is glued to the neck of the instrument. | The Fretboard
16: Resonance Testing Chladni resonance tests are run to determine the resonant frequencies of both the guitar top and coupled back. Non-vibrating areas are defined by the node lines. Bracing can be fine tuned in an attempt to optimize acoustic response.
17: The Completed Instrument
19: Ready to Sing
20: Viva fui in sylvis Sum dura occisa Securi dum vixi tacui Mortua dolce cano I was alive in the wood I was cut by the cruel axe In life I was silent In death I sweetly sing from an early lutherie engraving by Pierre Woeiriot -1562
21: Peter Joseph Guitars Troy, Michigan