Tuesday, April 19, 2016

The Irish Bouzouki - More Progress Shots









Cheers
Pete

Monday, April 18, 2016

Irish Bouzouki - The Parts Become a Whole

With the woodworking component of this bouzouki project almost complete, it's gratifying to finally see the results of my efforts in an assembled form, and be able to visualise what the completed instrument will look like.



As this project entailed a number of design decisions, as well as fabrication of the necessary moulds and templates, I'm sure the significant investment of time and effort involved will encourage me to construct more of these Irish bouzoukis. It's certainly been an enjoyable process, enhanced without doubt by the fact that, for the first time ever, I've been able to devote entire days to my passion rather than grab the odd hour here and there as my old day-job allowed.

As this is my first bouzouki I guess it's reasonable to regard it as a prototype. Nevertheless, I'm pleased to find that the construction itself has turned out as well as I could have hoped for. The all-important tonal evaluation will have to wait a little longer, of course.

Before I breathe a sigh of relief and pat myself on the back, a reality check tells me that the long and arduous finishing process awaits me!

Cheers
Pete

Saturday, March 19, 2016

Irish Bouzouki - Progress!






Cheers
Pete

Monday, January 18, 2016

Irish Bouzouki - The Rosette

I managed to complete the rosette this morning. There's no hint of chipping which has frustrated me in the past, thanks to a tip I picked up from a long-forgotten source.

Prior to routing the inner and outer purfling channels that border the rosette, which I complete after the inner tiles have been glued in place, I applied Titebond to the soundboard in the immediate vicinity of the rings and let it dry overnight. The rationale for doing so is that the wood fibres of the soundboard are less likely to tear or chip when the channels are routed as they are supported and stabilised by the glue. I believe the original suggestion involved the application of shellac in the vicinity of the rosette, but as I'd already managed to smear some Titebond on the soundboard when gluing the inner tiles, I figured it would achieve the same goal. Mission accomplished!


Cheers
Pete

Wednesday, January 13, 2016

Irish Bouzouki - Fun With Moulds

Making jigs and moulds is a messy and time-consuming affair. There are definitely more enjoyable ways to spend one's time, so I figure it's worthwhile investing a little extra effort and expense to get it right the first time.

Half-body and full-body templates
Half-body and full-body templates, with headstock template

While I wait for suitable weather and a break in my IT work long enough to afford me the opportunity to spray finish coats on the four guitars I've been constructing (seemingly forever!), I'm taking the first steps in building an Irish bouzouki - a first for me. After deliberating for some time where design and dimensions are concerned, fabrication of an outside body mould and templates for the bridge and headstock have been my focus in spare moments over the past couple of weeks.

Where construction of the body mould was concerned, my first task was to decide on the overall dimensions in the absence of any universal standards. In the guitar world, the iconic factory models manufactured by Martin and Gibson for many decades have at least served as a loose benchmark for the independent builder. However, as the Irish bouzouki was appropriated to a large extent from the Greek instrument and randomly modified to suit the requirements of a motley band of Irish folk musicians, its evolution appears to have been driven less by tradition than by the whims of the builders and musicians who have adopted it. It seems there are any number of combinations of scale length, body shape and body dimensions in common use, and I finally decided that in the absence of any agreed formula I'd develop something largely on what appeals to my aesthetic tastes. I was influenced a little too by the length of the truss rods I have on hand, my available fretting templates, and my concerns that an extreme scale length and a body join at the 17th fret - as is common practice - would result in a cumbersome, neck-heavy instrument. For better or worse, I've decided on a more conservative 632mm (24.9") scale length, a body width of ~350mm (14"), and a neck to body join at the 15th fret.

Using a set of French curves and a flexible ruler, I tidied up the half-body outline I'd drawn freehand on paper so that the curves transitioned and flowed smoothly. I traced the final outline onto a piece of baking paper, then transferred the outline to a piece of 6mm (1/4") MDF using transfer paper sourced from an art supplies shop.

I jig-sawed the MDF just inside the body outline I'd transferred from the tracing paper, then carefully removed the rest of the waste up to the line using a spindle sander. This yielded me a half-body template that would guarantee symmetry when used as a routing master. To fabricate the full-body master template, I aligned the centreline of the half-body template to a line I'd ruled on a second piece of 6mm MDF, traced the body outline and jig-sawed within the line, then clamped the two pieces together and routed to the line with a flush-cut router bit riding along the inner edge of the half-body template. Flipping the half-body template over and again carefully aligning the centrelines, I routed the other half in a similar fashion. The half-body and full-body templates are shown above.

I know from experience what a dusty mess MDF makes when machined, and of its tendency to deform and deteriorate over time, and made the decision to spend a little more money and fabricate the outside body mould from ply. To do so, I traced inside my full-body template onto a piece of 18mm ply, then jig-sawed inside the line leaving a small margin. Once again, having carefully aligned and clamped the full-body template in place, a flush-cut router bit removed the remaining waste.

I've struggled in the past to accurately align the individual layers when fabricating new moulds, and the solution - now that it's dawned on me - seems embarrassingly obvious. On the second layer of ply, I once again jig-sawed inside the pencilled body outline transferred from the full-body master template, then aligned and glued the two layers of ply together. It was then a matter of routing the waste to the line on the second layer of ply using the first layer itself as the bearing surface for the flush-cut router bit. The process was repeated for the third and fourth layers, with the final mould therefore comprised of four perfectly aligned layers of ply yielding a total thickness of 72mm.



Useful links:
Graham McDonald's, "The Bouzouki Book"
Nigel Forster Guitars - Irish bouzouki page


Cheers
Pete

Monday, January 4, 2016

New Year, New Opportunities

I'm not one for New Year resolutions, but given that January 1st can represent a fresh start if it suits us to view things that way, it seems like a good time to reflect on the year just passed, set a few loose goals for 2016, or at least anticipate the opportunities that the year ahead will present me with. First and foremost, I'm finally in a position to ease myself out of a full-time commitment to IT work and into a more relaxed work schedule that will include much more time at the workbench. That's a pretty good way to start the year, don't you think?


Due to a very kind offer from a friendly local, I now have a vastly more comfortable space in which to work, and it would be remiss of me not to acknowledge his generosity and thank him profusely. Thanks Neil!



To those of you who drop in from time to time to check out this blog, may your own 2016 be happy, healthy and filled with very good things.


Cheers
Pete

Friday, October 9, 2015

Workshop Dreaming

I guess "rustic" wasn't in the forefront of my mind when I envisaged my dream workshop, although I've always considered that its setting should ideally bring me close to nature. The primitive outbuilding at the rear of our temporary home will function as my workshop - hopefully in the short term - and actually allows nature into the workshop! Needless to say, I'm prepared for my resolve and my adaptability to be tested in the months ahead.


Our cottage is simple but comfortable, but to state that the structure at the rear of the property that will function as my workshop is basic is to take the concept of understatement to new levels. I can deal with the uneven dirt floor, but it's the "air-conditioning" that is likely to provide the main challenge. I've taken the precaution of attaching a hygrometer to the wall behind the workbench; my guitars and I can seek refuge in the cottage whenever the relative humidity creeps outside of what I consider to be safe limits. In a controlled environment, I try to maintain a relative humidity of 45%, so alarm bells go off in my head when I see the gauge drop much below 40%, or begin to rise above 60%.



To take a pragmatic approach, I'm confident that if I pay close attention to the ambient temperature and relative humidity, the standard of my workmanship won't suffer, although my personal comfort may be less than optimal at times. Having said that, when I eventually have that dream workshop, you can bet I'll appreciate it!

Cheers
Pete