Custom Guitars UK
My latest acoustic build – progress
by Jim · 7 Comments
As satisfying as it is to build a guitar, there are certain moments that really stand out. The obvious one comes at the end: when you string it up, and hear the first notes from the newly-made instrument. Another great moment is when you apply the first coats of finish; at that moment, you get a glimpse of what the final guitar will look like.
Today I enjoyed another one of my favourite moments: finishing the box. When you get the top and back glued to the sides, you can get an inkling of the guitar’s voice and tone.
With some judicious tapping, I was able to ascertain that this guitar has a good even response across its top, and that the back is vibrating well. Then I blew compressed air over the soundhole, like blowing across the top of a milk bottle at a certain angle, so that the box began making a noise. When this happened I felt the top vibrating, and I made douby sure that there were no inactive areas of the spruce top.
The back and sides of this guitar are made from a great piece of Mango. When I found this piece of wood, the flame in the wood took my breath away. I also like the wide variety of colours accross this particular piece. When it is finished, this guitar is going to be easy on the eye.
I have used a non-traditional bracing structure for this guitar, on both the top and back. In this picture, the asterisk bracing on the back has been glued in, but not yet carved. I have finished the inside of the guitar with shellac (French polish), to provide protection against the environment.
Hello. My name is Jim Fleeting. At my workshop in Ripon, North Yorkshire, I create custom guitars and basses for customers around the UK and Europe. The Guardian describes me as one of the UK’s leading luthiers, which is nice of them. I built the UK’s first nine string bass and popped up in Guitarist and Guitar & Bass magazine, after winning an award from the Queen Elizabeth Scholarship Trust. I also head Jim Fleeting Guitars’ thriving repair shop.
Nice flame.
I like the x braced back. Keep us updated on the tone once it’s complete.
Hey Jim,
thanks for adding guitarbench.com into your blogroll. I’ll make sure to add yours on our side.
I really like the split rosette and the mango is particularly nice!
Hi. Picked up a connection while researching the subject of finishing guitar body’s on the inside. Not much info out there, but generally the only viable option seems to be french polishing. I dont know if oil would be a good idea.
Im making my first guitar, but its actually destined for Singapore, VERY humid and big temperature fluctuations. So I’m quite prepared to spend some extra effort to help maintain the longevity of my work.
As Ive read, the FP doesnt waterproof, but will slow down absorption or desorption of humidity, which should be healthier for the wood i feel.
Also with humidity levels up to 90% (yikes) I have noticed that guitars sound duller, so perhaps the finish will compensate with a little more brightness.
Any tips, or further links?
Do you do all faces, top back and sides. If so how do you avoid getting the finish where you need to glue the body to the sides.
Many thanks. The Mango is nice, I’m using Paduk.
Tim
Hi Tim
Thanks for your comment. I finish the insides of my bodies with a single painted on coat of shellac (french polish). My thinking as that that single coat will seal it and, as you say, slow the uptake of water. It’s got to be better than unfinished wood. One coat means that the top isn’t taking on a whole lot of extra weight, and in terms of how it affects the sound, that Mango OM was sold within a week of my hanging it up on my ’shop. I’m not a store, and it was just someone droppping off a repair that had to have it, so I guess it sounded pretty good with the insides finished.
In terms of making a guitar and taking it to a more humid country, I made a guitar in Arizona and brought it to the UK. I made a taller bridge and saddle and a slightly flatter top, so when the top adjusted to the new humidity and bowed, I was able to take a little off the top of the bridge, and bring the saddle down. This way, I still had a decent sized bridge, with the right amount of saddle protruding, thus putting off a neck reset.
Sorry, I missed a question.
I avoid getting the finish on my glue surface in two ways.
1. I carve the braces one the top is glued into the sides, which gives me a more accurate tap test, so I finish the top glued into the sides.
2. Before gluing the top in, I fit the back and dry clamp it in place. I then draw around the kerfing, and brush my shellac on up to the line.