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Latest Activity: 11 hours ago
Started by Luis Motta da Silva 11 hours ago.
Started by Luis Motta da Silva. Last reply by Luis Motta da Silva Jan 4.
Started by Luis Motta da Silva. Last reply by Luis Motta da Silva Oct 17, 2013.
Been working on the Lily guitar! Still a bunch to do but here is what it looks like as of yesterday! The hardest part was wiring in the "N-Tuner" circuit!
I am assembling the Lily guitar...next step to install the frets! Will post more pics as i get it done!
I thought you guys might like to see these guys work. Pretty awesome.
New pics from my ongoing projects!
"Lily" solid body guitar:
Renew of 1980 bass pickguard and electronics:
I have a small body Japanese Daion L-999 which back inner side (but not the sides) is sealed. It sounds very good, but I can't say if it's due to the treatment..
Sorry about the link. Maybe this will work.
Accidentally doubled up on the "http"
I have thought about “sealing” the inside of an instrument but shied away so far because, in part, no historical “great” guitar or luthier employed this (to my knowledge). I did run across this Taran Guitars on YouTube. This guy French Polishes the inside (at least the backs) of his instruments. He doesn’t mention it on his site, but visually it appears to be the case.
I once had a very small bodied Guild that was oil finished and made of Honduras mahogany stem to stern (body, neck, soundboard, bracing) with an ebony fingerboard and bridge. It had no bindings/purflings, headstock veneer, or rosette. It was a nylon stringed instrument and I suspect a relatively short scale for a “classical”, (some things escape my memory). This was in the early 60s and it was a really sweet instrument. I have often thought of trying to re-create this from memory. I have a nice piece of Sapele (I believe it made the move) that could go to this project. The point of that tangent was that maybe an oil finish (linseed/beeswax) may serve to protect the interior with minimal tonal impact. I would still stay away from the soundboard (maybe).
Interesting discussion! What shall I say?
1) I never coated the inside of the instruments I make, nor do I have one that is coated inside. So, there's nothing I can asseverate based in experience.
2) I happen to know a guy, near Lisbon, that makes hi-class instruments, for worl-known guitarists (Pat Metheny, to name one). He continues a 3-generation tradition of guitar makers. Well, he is said to have tried inside coating, and have abandoned that.
3) Despite that, I can only imagine that coating the sides with a thin layer of shellac will have some good effect on the risk of cracks. That could be done with a soft brush, or even a "doll" - if you take care not to coat the parts where the linings will be glued. I admit that the effect of that on the instrument's tone will be minimum - if any - because sides don't have a relevant effect on the instruments acoustics. Coating the back could be different and, as Jay Lichty says, it can have an effect in sound projection. But, as I said, I can only speculate - I never tried it.
4) I do believe that instruments in the white sound softer, that is, they sound more like wood. After varnishing, they get a brighter tone.
5) I'll follow this debate. I've read really interesting things! Thank you all!
I use a 2" throw away foam brush. I glue the back to the sides first and brush the back and sides before gluing on the top.... I never apply the shellac to the underside of the top.
seems to me it that coating the inside of the backs and sides is a good idea to help against cracks and rapid changes... however the top being the actual soundboard you may not want to inhibit the movement ... this might produce the best of both worlds..?
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