(EBook LIUTERIA) Costruzione in The Style Antonio Torres Replicating La Suprema PDF

Classical Guitar Construction in the style Antonio Torres replicating La Suprema 1864 with tornavoz and plans by an American
Swede
Classical Guitar
Construction
in the style Antonio Torres
replicating La Suprema 1864 with tornavoz and plans
by Neil Ostberg
This page is a resource for those intrested in learning to build

acoustic guitars. If you have any questions or comments please
feel free to send them to my address listed at the bottom of the
page. Enjoy the Site.
Henrick Jansson Building Guitars at Ostberg's Shop

I. Introduction
0. Tool Sharpening.
1. Wood Getting, Splitting, Sawing And Curing.
2. Hide Glue Preporation and use.
3. Workboard or Solera.
4. Joining Top and Back,Gluing and Thinning.
5. Constructing the neck.
6. Bending the sides.
7. Make and Install Rosette.
8. Braces and Fan Braces.
9. Liners, peones, and glue blocks.
10. Body assembly install neck, top, sides, glue and end blocks,back liner back and glue back.
http://mysite.verizon.net/nostberg/ (1 de 3)27/12/2006 15:16:19

Classical Guitar Construction in the style Antonio Torres replicating La Suprema 1864 with tornavoz and plans by an American Swede
11. Banding and Purfeling.

12. Fingerboard gluing, frett fingerboard, dress fretts.
13. Surface Preperation, Scraping, Sanding Damping Off.
14. French Poslihing.
15. Bridge Making
16. Peg Making
17. Tornavoz Making
18. Torres Full Size Plans
19. 1800's style case making
20. Finished Torres and other replica guitars from the site shop. (including video and sound files)
21. 1888 Torres photographed by Richard Brune
22. Historic European guitars from the Östberg collection.
23. Lute Making.
I custom modified Georges guitars since the mid 1950's. The guitars you see here with no inlays on a flat
board and cutaways in models that never came with cutaways are all my work. I also removed the lacquer
on the playing area of the the neck and gave it a violin neck oiled finish to stop the laquer drag. This gave
George speed. Also put in Humbucking pickups,his favorite,for him.
Neal Pritchette has put up audio clips, video to come.
Neil Östberg
http://www.notpurfect.com/dad/dad.html
If you liked the guitar information, you are probbably adventurous enough delve into the following droll
material
(these pages are currently under construction)
Link to Other Silly Stuff Page.
Torres Replics built by William J. Londree 2005

Classical Guitar Construction in the style Antonio Torres replicating La Suprema 1864 with tornavoz and plans by an American Swede
Uklele with cutaway by Dale Thomas of Hawaii
Checkout Otto Mikkelsen's handmade guitar.
Checkout Dennis Neumann's handmade guitar.
Link o Japanese plans page
Akihiro Yamaguchi's classical period guitar music site
Send guitar related questions and comments to:

nostberg@verizon.net
Last update 12/15/05
11:00pm EST
This site is only for educational purposes only, not for profit and none of the instruments
herein are for sale.

Classical Guitar Construction
Henrik Jansson Building Guitars at Ostberg's Shop
My Name is Henrik Jansson. I am 32 years old and I come from Sweden. I am taking a guitar making
course in Stockholm, at Carl Malmsten Center for Wood Technology and Design. The course is three
years long and when I graduate I will have the Journey man’s Certificate and a Bachelor Degree in
Guitar making. This is my final year and we have a trainee period for eight weeks. Because of my great
passion for the classical guitar and the flamenco guitar I really wanted to go to someone who had both
time and knowledge to teach me what the making of good sound really is all about. So I contacted
Robert Ruck because I knew he is one of the best. He said that he had too much work going on, but
instead of just saying no he gave me names of a few other makers, among them Mr. Neil Ostberg.
Neil and I wrote e-mails back and forth for six months. I wanted him to know what I was looking for.
And I guess that Neil wanted me to know what to expect when I got there. Some students choose to go
to several different guitar factories, just to see the work procedure of a great guitar company. I wanted to
learn the traditional old Spanish way of making the guitar. I wanted to learn to make good sound and
also learn to French polish.
We decided that I should make two guitars. One flamenco guitar, ( Santos Hernandez), and a classical
guitar ( Antonio De Torres). For the soundboard Neil supplied me with the ugliest spruce I have ever
seen. He was laughing as he held the spruce top up to the light and said “Take a look at all that shit in
there”, but he made a very interesting point by this. The purpose of this wood was to get me to
understand that with the right technique, you can actually make a beautiful sounding guitar. For the back
and sides he gave me some nice looking black cherry from his own land.
There are lots of things I did not know about guitar making before I came here. I have made seven
guitars so far at the school in Stockholm, and yet when I started to make these two in Neil’s shop, I was
back on square one again. I had for instance never made a guitar by using only hide glue. I hade never
worked with weights instead of clamps. I hade never used shellac before. Through the construction of
these two guitars Neil has shown me different ways to do things, and then explained to me why one way
is better than the other. And every now and then he takes me aside and shows me some old articles or a
repair technique I may have use of in the future. Even with two years of study at Carl Malmsten CTD, at
Neil’s shop I have taken many important steps which have raised my skills to a much higher level.
http://mysite.verizon.net/nostberg/henrik/hendrik_index.html (1 de 11)28/12/2006 11:19:38

Pic 1 Neil – “ take a look at all that shit in there”

Pic 2 Chuck Stephens giving me some tools that will really improve my work

Pic 3 Using my new plane on the shooting board. Thanks chuck!

Pic 4 Bending the sides.

Pic 5 After the 3rd attempt

Pic 6 Using weights

Pic 7 I turned my own pegs

Pic 8 Fret work

Pic 9 Neil quite often tends to say “don’t trust me I don’t know” Here you can see me brushing egg
white on the guitar. Neil told me to…
See a 15 second 1 mb movie of Henrik French polishing one of the guitars.

See a 1 min 40 second 5 mb movie of Henrik gluing and clamping the bridge
Pic 10 The first coating with sanding sealer, soon I will get to french polish.

Introduction
Return to Classical Guitar Construction Home Page
This statement will bear keeping in mind, how you treat your woods during construction is
more important than using rare and costly woods. There are many instruments on the
planet built of the finest wood available that lack good sound. For a beginner common
sense dictates that you cut your teeth on common woods. Proof of this statement is as
follows----woods in instruments that are still in use built by Antonio Torres and Guarneri
Del Gesu seldom were first class but their skill in construction gave them the ability to
produce quality sound. They understood how to spring the wood to make an efficient box
to move the air. for example the fan braces on a classical guitar top become springs when
locked into the parabolic dish of the solera (work board) . The pattern of the fan braces is
not as critical as their springing and shape, proof of this is the many guitars in existence
producing good sound with different fan brace patterns ,and the many great builders of our
time who are constantly changing their patterns with and producing good sound. The
violin in its arches which act as springs and its base bar which acts in concert with the
sound post to move the top and back plates to effectively move air is another but different
example of springing. The manner in which the plates are graduated the shape of the
curvature of the plates is treated, the shape of the body and the air chamber it produces
have an effect on the finished sound--- basic dimensions have evolved through trial and
error down through the centuries these dimensions work and that is why Antonio de
Torres style of construction is emulated in this series. To attempt to build in the style of
Torres would have been impossible for me save for the wonderful times we live in. The
book Antonio de Torres guitar maker --his life and work --by Jose l. Romanillos was given
to me by Robert Ruck guitar maker this planted the seed. I proceeded to enlarge the plans
from Romanillos book to create a plantilla (p/an). Hence forth all of you have Mr.
Romanillos to thank for his great book which I recommend you read. The guild of
American Luthiers publication series ---American Lutherie number 33 / spring 1993 page
18 has an article by R. E. Brune Torres' guitar restoration his insights as to Torres
construction, and photos are a must. Mr. Brune is a guitar maker and guitar historian. A
membership in the Guild of American Luthiers 8222 south park avenue, Tacoma, WA.
98408 phone 206 472 7853 would be a good source of information and contact with other
makers for you they publish quarterly and hold conventions every few years the emphasis
http://mysite.verizon.net/nostberg/introduction/introduction.htm (1 de 2)27/12/2006 15:17:14

of the publication is educational. Read la guitarira espanola--the Spanish guitar - by

Museo Municipal, Madrid and the Metropolitan museum of art, New York. I hope this
learning experience will be a pleasant one. You have undertaken a long process be patient
with yourself. My methods are not the final word on classical guitar construction when
you see a way to improve---do it. Neil Osberg
Thanks to Ross Kowalski, teacher, web author, artist, photographer who did the technical
work implementing this site and technical advice to the author.
http://mysite.verizon.net/nostberg/introduction/introduction.htm (2 de 2)27/12/2006 15:17:14

Chapter 0
Tool Sharpening.
Page 1. Plane irons and chisels to sharpen.

Page 2. Handsaws to sharpen.
Page 3. Cabinet scrapers,to sharpen
Page 4. Circle saw sharpening.
http://mysite.verizon.net/nostberg/chapter0/chapter0.htm27/12/2006 15:17:31
Chapter 0
Plane irons and chisels to sharpen.
Page 1. Sharpening plane irons and chisels

Page 2. Whetting plane iron ground bevel.
Page 3. Whetting the iron flat side.
Page 4. Stropping the edge.
http://mysite.verizon.net/nostberg/chapter0/chisels/chisels.htm27/12/2006 15:17:37
Chapter 0
Sharpening plane irons and chisels.
Page 1
http://mysite.verizon.net/nostberg/chapter0/chisels/step1.htm (1 de 2)27/12/2006 15:18:03

Sharpening plane irons and chisels is easily done with a few simple tools and a little effort and practice. If the tool edge is in good condition a whetting may be all that is needed, try
to avoid unnecessary grinding. If the tool edge is in bad condition squaring of the edge and grinding must be done. When grinding always have a can of water close by and dip the
edge being ground often - reason - burning of the steel when grinding will destroy the temper and cause the edge to fail. Follow the old edge angle as close as possible. Most wooden
plane irons, Japanese planes of good quality, have irons made of two layers in the area of the cutting edge these irons so will feel different when grinding be cautious.

Chapter 0
Whetting plane iron ground bevel.
Page 2

Whetting plane irons ground bevel, cover the whetstone with kerosene to prevent the stone from clogging with metal particles, rust etc. Hold the plane iron as in the image resting
flat on the ground edge move the iron in the direction of the arrow for a few strokes. Look at the ground edge you will see the action of the whetstone on the surface. Now turn the
iron over and whet the flat side.

Chapter 0
Whetting the iron flat side.
Page 3

Whetting the iron on the flat side removes any burrs from whetting the ground side. Keep the iron flat on the stone, check the stone to be sure that the surface is flat or try to find a
flat spot on the stone. Repeat this ground bevel to flat until the edge is sharp. Next hold the iron as in the image of whetting the ground bevel, raise it a little higher and rub in the
direction of the arrow, feel with your thumb for a slight burr on the flat side. Remove this burr by whetting the flat side. Do three raisings of the burr using medium pressure for the
first burr, less pressure for the second burr,very light pressure for the last burr. For the first medium raising of the burr use three strokes, second two strokes,final one stroke. On the
flat after each raising three strokes, two,one and done. Now you are ready to strop.

Chapter 0
Stropping the edge.
Page 4

Stropping the edge will remove any burrs and give a razor edge. Get a piece of wood as in the image and glue a piece of thick leather on it skin side out. Put some light oil on the
strop leather and you are ready to strop. Strop the edge going from ground edge to flat stropping away from the edge until you can shave the hair on your arm. Repeat the whetting
and stropping until you have success.

Chapter 0
Tools needed.
Page 1
http://mysite.verizon.net/nostberg/chapter0/saws/step1.htm (1 de 2)27/12/2006 15:20:22

Tools needed to sharpen handsaws are displayed in the image. At the left are three corner slim taper files,chalk fo putting on files to stop clogging of file teeth,saw vise,saw set, saw
sets of this type have an adjustment for different tooth size.

Chapter 0
Straighten saw blade.
Page 2

Straighten any kinks in the saw blade with a wooden mallet on a wooden support.

Chapter 0
Joint or level saw teeth.
Page 3

Joint or level the saw teeth with a flat file filing gently.

Chapter 0
File teeth.
Page 4

File teeth towards the saw handle. Drag the file backwards in the tooth valley until it is smooth then file, filing from one side of the saw towards the handle. Take care to use uniform
pressure and angle.

Chapter 0
Set teeth.
Page 5

Set the teeth with the saw set taking care to adjust the anvil of the set to agree with the tooth size. Set one side at a time, setting the alternate points away from the center line. Many
old time saw filers did such a good job that a pin would slide down the valley produced by the set.

Chapter 0
Cabinet Scrapers to Sharpen.
Page 1. Draw filing.

Page 2. Whet the scraper edge.
Page 3. Whet the scraper side.
Page 4. Turning the burr.
Page 5. Burr shape,finishing.
http://mysite.verizon.net/nostberg/chapter0/scrapers/scrapers.htm27/12/2006 15:24:32
Chapter 0
Handsaws to sharpen.
Page 1. Tools needed.

Page 2. Straighten saw blade.
Page 3. Joint or level saw teeth.
Page 4. File teeth.
Page 5. Set teeth.
http://mysite.verizon.net/nostberg/chapter0/saws/saws.htm27/12/2006 15:19:52
Chapter 0
Draw filing.
Page 1
http://mysite.verizon.net/nostberg/chapter0/scrapers/step1.htm (1 de 2)27/12/2006 15:25:09

Draw filing. In the image you will see burnishers,various sizes and shapes of scrapers, a scraper being draw filed. Note the direction that you will file in, this is called draw filing,
hold the file as shown in the image. Use a fine cut mill bastard file, to avoid clogging files rub chalk on the file teeth. Scrapers,planes,chisels do not come from the maker sharp. In
the case of cabinet scrapers which are die struck it will take a number of passes to get rid of the rollover caused by being cut with a die. If you can't find a source of cabinet scrapers
you can make one from an old hand saw blade. The cabinet scraper is one of your most valuable tools.

Chapter 0
Whet the scraper edge.
Page 2

Whet the scraper edge. Put some kerosene,scented lamp oil if you don't like the smell of kerosene on the whetstone. Whet the scraper in the direction of the arrow until the corners
are sharp. Take the scraper and break/dull the four 90 degree corners of the scraper to avoid digging in and damaging your work.

Chapter 0
Whet the scraper side.
Page 3

Whet the scraper side. Lay the scraper flat as in the image and remove burrs caused by filing. You are now ready to turn the cutting burr.

Chapter 0
Turning the burr.
Page 4

Turning the burr. Old time cabinet makers and wood workers turned the burr holding the scraper flat on the bench top. When the burr needed renewing the scraper burr was knocked
down with the burnisher and renewed using three strokes to renew each edge. The masters I learned under would take me to task if I used more than one stroke to knock down the
edge and three strokes to renew each edge it was also considered waste of pencils to make more than one pencil mark. Precision marks were made with a knife. It will be easier for
the beginner to put the scraper in the vise and burnish as in the image. Rub the burnisher on the back of your ear lobe or along side of your nose to pick up a li ttle grease to lubricate
the burnisher. NO OIL as oil may get on the scraper and on to your work while finishing. Bear down on the burnisher holding it at a slight angle go across the edge with pressure to
start rolling the edge, increase the angle for the next two passes. Feel the burr with your thumb, the correct amount of burr is learned by trial and error. This procedure will take
practice but once mastered will become automatic.

Chapter 0
Burr shape,finishing.
Page 5

Burr shape, finishing. In this image you will see the point of the burnisher being used to remove the roughness inside of the burr. Many burnishers are made today without the point
as I fear this knowledge has been lost. William Daum who is one of Americas most prolific lute makers jnjured himself,cutting his thumb with the point of the burnisher after I
showed him how to use one about 1962. Please be careful of the scraper edge and burnisher point. The drawing shows an approximate burr profile. Wipe the scraper clean with a
paper towell or rag, wipe off the whet stone and you are done.

Chapter 0
Circle saw sharpening.
Page 1. Saw mill blade swedging.

Page 2. Pole saw blades.
Page 3. Jointing table saw blades.
Page 4. Blade filing fixture.
Page 5. Setting circle saw blades.
http://mysite.verizon.net/nostberg/chapter0/circular/circular.htm27/12/2006 15:29:50
Chapter 0
Saw mill blade swedging.
Page 1
http://mysite.verizon.net/nostberg/chapter0/circular/step1.htm (1 de 2)27/12/2006 15:30:49

Saw mill blade swedging is a process that gives clear'ance between the blade and the wood to stop heating of the blade. Swedging does not remove metal from the blade, the swedge
pushes metal back and creates a larger tooth top which clears the wood. Before swedging check that the blade is round by clamping a stick to the mill and rotating the blade, correct
any high teeth. Two types of swedges are pictured in the images the red one to the left is a hammer type and the one to the right is a roller type actuated by a lever. When using both
swedges lock the blade with the saw guides and wedges. The hammer swedge cavity is set firmly on the tooth and hit with a hammer try to keep a uniform size when forming the
tooth tip. The lever swedge is set on the tooth and locked to the tooth and with the handle held firmly pull the lever the roller will start to form the tooth upset repeat until the tooth
has a good upset. Once the teeth are swedged, light filing on the front face of the tooth is all that is needed to touch up the blade. Tooth shape must be maintained by gumming or
filing, make a pattern of metal, of the tooth shape if the cavity of the tooth becomes too small there will not be room for saw dust and the blade will heat and it will take more power
to saw. The reason to avoid heating is that if the blade heats it will start to wobble as the rim expands and your mill will go out of control and you will have to stop sawing. If the
teeth are in good shape, properly sharpened and hammered to the hand of your mill and still heats and wobbles the rim may have to be hammered by hammering lightly around the
rim to loosen the blade edge. Try this yourself but if you still have trouble have an experienced man do this.

Chapter 0
Pole saw blades.
Page 2

Pole saw blades are commonly used as cut off saws on green wood, hence the name pole saw. One is cutting long poles of green wood. Making stove wood or chord wood is the
main use of this type of saw. These blades are in the range of two feet in diameter and have teeth set alternately a wide set is used causing a wide kerf to avoid hard cutting in green
wood. The blade first must be jointed to get the blade round, this can be done by locking the movable saw table and with the saw running lightly touch the saw teeth with an old whet
stone or a brick moving the stone laterally side ways. The reason for the lateral movement is to avoid creating a groove in the stone, which will not work. Once the blade is round one
can sharpen on the saw buck or make a saw clamp as in the image for sharpening indoors. File the teeth, following the prior shape, if the gullets need more depth do with a round file.
File the tops of the teeth from one side keeping the angles uniform. Chalk the file to avoid clogging of the file teeth. Once both sides are filed you are ready to set the teeth. Set the
teeth on an iron block or anvil edge with a rounded edge using a hammer. Set the tip of the tooth about the top third or quarter.

Chapter 0
Jointing table saw blades.
Page 3

- Jointing table saw blades must be done to have a round blade with all the teeth working and sharing the work. Use an old whetstone as in the image and with the saw running gently
touch the blade and move the stone laterally as shown by the double arrow in the image. On very thin blades .025, as the one used for cutting fret slots, veneer, bone etc. if the blade
is out of round and only a few teeth are cutting heating will occur and the edge will roll over and the blade will wobble ,improper set can also cause this. If the blade is round and the
teeth are set and filed properly and the edge still rolls over, hammer the edge lightly close to the gullets of the teeth with a small hammer on an iron block or anvil. This hammering
relaxes the rim, if the rim is too loose tighten by hammering near the shaft arbor. Thin kerfed blades from suppliers often need correcting and hard materials like bone will require
blade tuning.

Chapter 0
Blade filing fixture.
Page 4

Blade filing fixture is easy to make and will save you time. Put a series of holes for different size blades. Mount the blade filing fixture to a solid bench so that when filing the file
does not chatter.

Chapter 0
Setting circle saw blades.
Page 5

Setting circle saw blades is easily done, many old jointers would file a bevel on the corner of their table saw for use in setting saw teeth. I followed suit and have used this method for
50 years. Fine tooth blades require a small block of iron or steel with a very slight bevel. Hammer lightly until you get the right amount of force in your hammer blows. The rule is as
it with many things in life, DO IT,NOT TOO MUCH, NOT TO LITTLE BUT JUST RIGHT. When you want a very smooth cut lay the blade on the workbench and gently run a
whetstone around the perimeter of the set. In this age of carbide blades it is good to know how to maintain saw blades this knowledge gives you the ability to change the width of the
saw kerf for cutting slots of specific widths. A little paraffin wax put on the teeth helps cutting hard materials also good for band and scroll saws. When you know how to sharpen
blades you can find old blades and restore them at little or no cost.

Chapter 1
Wood Getting, Splitting, Sawing And Curing.
Introduction Introduction
Page 1. The selection of one tree.

Page 2. Mr. Harvey and his team of Belgens.
Page 3. Pulling tree out of woods by horse.
Page 4. Mr. Rosenheimer.
Page 5. Selection of a second tree.

Page 6. Splitting the wood.
Page 7. Hewing.
Page 8. Hewing.
Page 9. Sawing boards.
Chapter 1
Introduction
To be able to use wood in your local is convenient and economical, it can give you control of your wood
supply, and is easier than you think. A piece of bass wood destined for your fireplace or stove can be
glue blocks, liners, an end block or the white wood in your rosette. That piece of maple next to the
basswood could be a three-piece guitar back, a bridge, fingerboard, pegs etc. Stain or dye to change
color, or does the maple show curly grain and would make a violin neck, back, sides, bridge and pegs
use your imagination and you will be in control. You will also free yourself of the worry of ruining a
piece of wood you spent next months money for. If a disaster occurs grab another piece of wood and go
forward. Those living in the cities where wood is scarce can resort to old furniture, building demolition
sites, lumberyards etc. If you can get wood in the log, cut it in two foot lengths for guitar backs and
thirty four inches for sides. Spit it in half and then in quarters which you then level with ax and plane.
Then take it to a cabinet shop, school or friend to saw about three sixteenths inch thick for back and
sides, as the wood is green, paint the ends with melted paraffin---CAUTION melt in a pan of water no
fires please--- paint about one half inch up. Stack the wood in a dry place with strips of wood in between
to allow air circulation no direct sunlight. If in a hurry, hang over a stove or radiator to cure faster. As
you saw from the quarter mark the pieces that lay next to each other it will make it easier to match grain
and color. The old rule of thumb to dry one year one inch and another year in a control room at about
45% humidity and to assemble at 45%. When bending sides they are soaked but they dry in the heat of
the bending iron. Favorite North American Woods- Number one is black cherry (Prunus Serotona) used
for furniture and firewood it is beautiful and works well. It grows to be a large tree, on the quarter it
makes stable neck wood, backs, sides, bridges, fingerboards, and pegs. Takes stain well. Use Analine
stains, as oil stains will muddy the wood. A mixture of Lye and water will go light to chocolate
depending on solution strength and time. Please practice on a scrap piece of wood before using it on an
instrument. Maple-black Maple is very hard and occasionally has curl and birds eye. Holds up well for
necks if cut on the corner, but is heavy. Good for back side's etc. Walnut is a good guitar wood, but has
an open grain and requires filling. White Oak cut on the quarter is attractive for backs and sides. Do not
use for necks it is a free bending wood. White Oak can be fumed with ammonia; shades from golden to
brown can be achieved. Do fuming outdoors in a cardboard box. Put ammonia in a saucer, close the box-
DO NOT BREATHE FUMES- Peek in to check color-practice on scrap. Cherry called, Cerezo in
Spanish, and is widely used in Central and South America for guitarrones, guitars, quartros, tiples,
charangas, violins, harps etc. Cuban Cedar (Cedro de Cuba) a light strong aromatic wood easily carved
is the traditional neck wood of Spanish luthiers and is my favorite neck wood. Top woods are softwoods-
Spruce, Pine, Fir, Larch, Red Cedar. Cedar had become very popular. These woods in North America
are to be found in lumberyards, building demolition sites, width and quarter grain must be looked for.
Most lumberyard personnel do not know what quarter grain is. Eastern Red Spruce is great wood.
Occasionally European woods can be found here. Norway Spruce (Picea Abies) was planted very early
in the U.S. and is a good top wood. The Guild of American Luthiers publication has numerous
advertisements for wood---Mail them at 8222 South Park Ave., Tacoma, Wa. 984081.
http://mysite.verizon.net/nostberg/chapter1/intro.htm29/12/2006 10:03:48
Chapter 1
Page 1
A large Black Maple was blown down by storm, it will be cut into eight foot lengths and skidded out of
the hollow and to the clearing by Mat Harvey and his team of twenty year old Belgians. This logging
operation will be accomplished without the use of fossil fuel with no damage to the environment, except
for a little Methane release from the horses and humans present.
http://mysite.verizon.net/nostberg/chapter1/step1.htm27/12/2006 15:35:51
Chapter 1
Page 2
Mr. Harvey and team going through mud and rock to higher ground. As I watched the teamwork, it
appeared to me that they were enjoying themselves.
Chapter 1
Page 3
Mr. Harvey and team going to the clearing. Note the wooden frame that the log is resting on, it cuts
down on friction and makes it easy on the team and the land. Some regional names for this device are-
Jimmey, Skidder Nose, and Crickett.
Chapter 3
Page 4
Mr. Rosenheimer's great grandfather brought the seedlings for these Norway Spruce, from Bavaria 145
years ago to plant in the cemetery he founded in Schliesingerville.
Chapter 1
Page 5
In 1997 as my step son (Mike Strzelecki jr.) and I were driving past Rosenheimers cemetery, my step
son noticed that a dying tree by the gate was marked for cutting. I asked if the tree was to be cut and if I
could have the wood. Mr. Rosenheimer said it was to be removed, and that I could have the wood for
instruments. The young trees on the left were planted to replace the dead one. Will they also be used for
instruments some day??
Chapter 1
Page 6
Paint the ends of the log to prevent split ends. Start the split with iron wedges and finish with large
hardwood wedges. Split in half first, then quarters and so on
Chapter 1
Page 7
Remove bark using a Hewing ax sharpened to one side, if you are right handed hew with the bevel away
from you. Getting the bark off right away get rid of bugs, it also stops the dulling of your saw by getting
rid of rock and sand imbedded in the bark from skidding.
Chapter 1
Page 8
Hew a level surface and follow the grain as much as possible to maintain quarter grain, which is
necessary for good top wood. Some runout is impossible to avoid, do you best and move on to planing
level. Mount the wood securely as when planing by hand, great force is used. A plane with a curved iron
is used to rough in --- Criss crossing the surface, finish with a straight bladed plane. A large machine
jointer will save much work.
Chapter 1
Page 9
Large hand saw can be used, but if you can find a Bandsaw it will save you much time. Saw guitar plates
to three-sixteenths inch or thicker, seal ends with Parrifin and stack in dry place, put spacers between
plates.
Chapter 2
Hide Glue Preperation and use.
Page 1. What is hide glue?

Page 2. Glue pots.
Page 3. Glue Brushes.
Page 4. Rubbed Joints.
Page 5. Close-up of rubbed joint.
Page 6. Strength test with 40lbs of lead.
Page 7. Strength test with 80lbs of lead.
Chapter 2
Page 1
Hide glue is the traditional glue of the luthier. That four hundred year old instruments, are still in use is
proof of its durability. Use it with confidence. Practice first on scraps, it has rules you must follow. A
warm room to work in or warm the wood, Hide glue - to make-Put three-eighths inch water in bottom of
container, fill container three-fourths with glue, add water to cover glue, let stand overnight and cook at
140 degrees, when melted skim off fat, stir and thin to equal 20 w oil at 70 degrees farenheight, stir well
pulling from bottom, go to work in a warm room 72 degrees +, warm the wood, move fast, and think
ahead have everything ready. You should thin the glue for rosetts , inlays, thin glue can be used for
sizing, also before finishing.- Glue is non-toxic.
Chapter 2
Page 2
Glue pots, left a hot plate with a pan of water with baby food jar of glue. Use baby food jars as no need
to mix a large quantity; I like to have two jars of glue ready when gluing a critical joint like the back or
neck that in case of accident I am not out of glue. The water in the cooking pot holds heat and is handy
for clean up. Do not heat the glue when not using it, excessive heating weakens it. On the right is a cast
iron double boiler glue pot with a porcelain liner- Do not cook glue in iron- Sir Thomas Mace in his
book Musiks Monument published 1676 states that glue be heated on a lead pot; the book has a lute
repair section with good instructions for glue use and repair. The book has been reprinted in France by
Editions Du Centre National De La Reserche Scientifique-13 Quai Antitole- France- Paris (Vlle)..I
recommend it highly. In the center is an electric glue pot a great convenience - The eighth wonder of the
world!!
Chapter 2
Page 3
Glue brushes-acid brushes for soldering work good and are cheap, if a wider brush is needed use a real
hair brush, cut short, also thin wood spreaders are used, use scrap from guitar backs. A source of Hide
glue in large quantities is Milligan and Higgins P.O. Box 506, Johnstown, New York, 12095-0506. I use
315 TG. Do your gluing at 45% humidity, if possible.
Chapter 2
Page 4
The rubbed joint, gluing without clamps, the joint must fit very close. On violin plates, make certain the
joint surface is level, warm the wood, spread glue heavily, unite pieces and rub with a short motion
keeping pieces in line, and bearing down until resistance is felt--- Then walk away-The joint is done.
Chapter 2
Page 5
Rubbed joint showing glue squeeze out, do not starve joint
Chapter 2
Page 6
Strength test one and one half-hours after gluing. Plates supported on wood strips and 40lbs. of plumbers
lead put on joint.
Chapter 2
Page 7
Strength test 80lbs. and out of weight, but the joint still holds. The joint was sawed in two at the joint
line the joint was tested with a moisture meter; it read below 10%. If you make a mistake in gluing break
it apart immediately. I once tied down a bridge, the saddle in the wrong direction while conversing with
a lovely lady, and when returning to work later had a terrible time removing the bridge. --- It pays to pay
attention?
Chapter 3
Workboard or Solera
Page 1. Glueing up the workboard/solera

Page 2. Leveling the solera
Page 3. Side and inner mould
Page 4. Parabolic dish to do
Page 5. End view of solera showing dish area contours.
Page 6. Side view of dish in solera
Page 7. Neck angle
Chapter 3
Glueing up the workboard/solera
Page 1
Glueing up the workboard/solera ,the workboard is the mother of your guitar.it determines the dome of
the top,the neck angleand provides for the assembly of your guitar. Make the work board of 1"by 8" no.
2 pine. Rip the pine into three pieces with a thin saw blade which will give you strips of pine about 2-
1/2" wide by ¾" these rippings will be used to make a laminated solera which is less apt to warp,
remember to keep the knots all to one side giving you a relativly clear surface for the top of your solera.
Make the lamination 4" wider than the guitar and 6" longer than the total length of the guitar. The extra
width and length is to allow for mounting the mould and attaching to the shop wall or work bench. Glue
up as in the image using Hide glue or Franklin tite bond glue. Remember to glue up on a flat surface and
to put waxed paper or newspaper on the surface you are using to glue the solera. Use a heavy spread and
clamp well. CAUTION PUT NO NAILS OR SCREWS IN TO THE SOLERA!! as it has to be surfaced
and cut to dimension if you put screws or nails in you risk ruining a saw blade or other tools.
Chapter 3
Side and inner mould
Page 3
Side and inner mould,take some pine and glue them up until you have a 3" lamination. The boards are
glued flat this lamination should be 4" wider than the length and width of the guitar body. Saw it to the
body shape of the guitar as in image,saw notches in the inner mould to allow clearance for clamps. Rasp
the inner mould outside edge to give clearance for the side thickness and remove ¼" from the inside
edges of the inner mould to allow for wedging. The outer moulds have to be joined with a removable
joint on each end ,study the images of the solera,the reason for this is the sides will be fit when the outer
moulds are unified,then the neck area will be opened to allow the neck to go through, and when the
guitar body is together to separate them to remove the guitar. The outer moulds are bolted to the solera
with ½" carriage bolts and wing nuts see images. The inner moulds are usefull for fitting and cutting the
sides to length while in the mould,as a pattern when bending sides etc. Put some shellac and a coat of
paste wax to protect moulds and to stop glue from adhering.
http://mysite.verizon.net/nostberg/chapter3/step3.htm (1 de 2)27/12/2006 15:39:55


Chapter 3
Parabolic dish to do
Page 4
Parabolic dish to do-Now that the solera is leveled, the dish that creates the doming of the guitar must be
created. In the image is a small cast iron plane that has been modified to make a hollowing plane simply
grind a curve on the long axis and width a belt grinder or grindstone will do the job. Grind the blade to
fit the planes sole take care not to burn the blade go slow cool quickly in water.This plane is usefull for
shapeing braces .The depth at the center of the dish will be 3/16" and the center of the dish will be at the
center of the bridge saddle. At the inter section of the bridge saddle, to be determined by the fret scale)
and the centerline of the guitar body drive a 4 penny nail 1/2 or more inches deep marking the location
for the next steps. Take the small curved plane you have just modified and plane carefully towards the
center mark from all directions takeing fine cuts leaving the outline of the guitar line showing. Do not go
to the full depth with the plane the next tool in the image will do this. This tool will be rotated to finish
the dish. To make this tool take a piece of wood 1-1/2" by 1-1/2"square and as long as the one in the
image.Mark the center and drill a hole the diameter of an 8 penny nail,turn the tool so that the hole you
have just drilled is parallel to the top of your workbench,measure in 2" from each end and drive a nail
three sixteenths from the edge then at the middle drive another nail at the edge or corner on an angle,
bend this nail up as are the first two that you drove. Now you have three points established take a
flexible metal straight edge and placeing it on the outside of the center nail and on the inside of the two
outer nails and you will have the curve ,mark with pencil and plane to shape. Put some limit blocks on
the outer edges to control depth plane the limit blocks if needed to go deeper. The brace nearest the

soundhole on the bridge side of the solera will limit the circumference of the dish. To make the dish
wrap the tool with 60 weight sand paper slitting the edges to allow the sandpaper to bend unifornly,put
an 8 penny nail in the hole in the radius tool and drive the nail in the hole in the solera made by the 4
penny nail,and rotate the tool to make the dish going to finer sand paper to finish.Now blend the dish to
the contours of the guitar with scraper and sandpaper.The brace above should be 1/8" dished at the
middle going to zero at the neck top join. Make smooth gracefull curves. Sand lightly and draw the
layout of all braces on the solera,cut out the area of the sound hole and on the oppisite side of the sound
hole area make the solera thinner to allow small clamps to be used to clamp the top through the
soundhole of the solera. Shellac or french polish the solera and apply coats of paste wax to protect and
stop glue from adhering.


Chapter 3
End view of solera showing dish area contours.
Page 5
End view of solera showing dish area contours. The nails on the bottom of the solera are for glueing the
back with twine.
Chapter 3
Side view of dish in solera
Page 6
Side view of dish in solera
Chapter 3
Neck angle
Page 7
Neck angle,the neck area of the solera is planed from the neck body joint which is zero to the point of
the nut being 3/64" lower this determines the angle of the neck. As the guitar is built upside down when
the guitar is removed from the solera the nut area of the neck will be 3/64" above the plane of the top.
Plane this straight and true takeing fine cuts be carefull, you have a lot of time and effort invested. A
general rule the higher the dome of the top the less neck set.
Chapter 4
Joining Top and Back,Gluing and Thinning.
Page 1. Jointing a top.

Page 2. Close up of plane.
Page 3. Gluing a top or back.
Page 4. A traditional way.
Page 5. Thinning planes.
Page 6. Close up of a curved plane iron.
Page 7. Toothing plane for thinning difficult woods.
Page 8. Finish plane.
Page 9. Leveling.
Page 10.Homemade thickness gauge.
Page 11. Top view of thickness gauge.
Page 12. Thickness gauge in use.
Page 13. Top held while planeing with hold-downs.
Page 14. Mark grain direction to avoid tear outs.
Page 15. Cabinet scrapers
Page 16. Showing finish planeing residue.
Additional images of the thickness gague from pages 10,11,12.
Image 1
Image 2
Image 3
Image 4
Image 5
Chapter 4
Jointing a top.
Page 1
Make yourself a shutting/shooting board as in the image use the jointer plane for scale. Make certain
your plane is sharp. Put the wood against the stop and let it hang over about one quarter inch , the plane
should be set for a fine cut. Try a pass, if the wood tears reverse the board. Both boards must fit when
held to the light and both edges must be square.
Chapter 4
Close up of plane.
Page 2
The sole of your plane must be flat, if warped find a flat slab of concrete take the plane iron out put
water on the concrete and rub the sole of the plane on the concrete until straight, checking with a
carpenters square, make certain the square is straight many newer ones are not, use plenty of water,
polish the sole with 400 wet or dry paper and water, dry, rub paraffin wax on the sole. Use paraffin on
the sole of wood planes after jointing them most old ones will need jointing. Keep your tools in good
order and they will reward you. Do not grind plane irons every time they are sharpened, hone and strop
them. Good planes, chisels, whetstones and other tools can be found at flea markets, rummage sales and
at auctions at reasonable prices. Spend a little time to clean them up with 400 wet or dry paper and water
tune the tool up and it will give you a lifetime of service. When buying make certain that the blade has
not been ground too short from years of use , a new sole of hardwood can be glued to wooden planes to
renew them. Look for a thick blade as they work better.
Chapter 4
Gluing a top or back.
Page 3
I will show you two of the many ways to glue top and back plates. In this image a piece of particle board
or plywood is used as a base to nail to, tape waxed paper on the board in the area of the glue joint. Lay
the pieces to be glued in front of you , on the board set four penny finish nails along the edge nearest
you, leave three eight's inch gap between the pieces, spread glue heavily between the pieces, pull the
joint tight, put nails along the far edge, put wax paper and weight on the joint, bend nails inward to
clamp joint and it is done.
Chapter 4
A traditional way.
Page 4
Using twine and wedges, the center board under the joint is waxed and has waxed paper also. Mount the
jointing fixture in a leg vise. Again leave a gap for glue, pull the joint together, wrap with twine pulling
as you go caution wax all your twine used for glueing with paraffin or it will be glued to the work, slip
waxed wedges under the twine as in image. Separate the wedges and work with waxed paper.
Chapter 4
Thinning planes.
Page 5
Their soles have been trued and waxed, to your left is a toothed plane next a curved and last a straight.
Chapter 4
Close up of a curved plane iron.
Page 6
It is set fine and used for rough removal.
Chapter 4
Toothing plane for thinning difficult woods.
Page 7
Can be set for a coarse cut it will reduce figured maple and very hard woods like rosewood and ebony,
when you think you are close to finish thickness, finish to dimension with a fine set straight plane with
rounded corners. A slight rounding of the corners of the plane iron stops digging in and spoiling your
work. Finish off with a cabinet scraper. To make a toothing plane anneal the plane iron and file teeth and
reharden or grind them in with a Dremel Moto tool.
Chapter 4
Finish plane.
Page 8
An old raze plane well sharpened and set very fine. When you can see through the shaving, your iron is
set correctly. Keep the sole waxed it works better.
Chapter 4
Leveling.
Page 9
A straight piece of hardwood with blue lumber crayon or chalk rubbed on it, is rubbed over the wood
you are thinning to see the high spots, when planeing and scraping.
Chapter 4
Homemade thickness gauge.
Page 10
Round ended hardwood pins that ride over the wood of the top, it is calibrated, put marks in with a sharp
knife.
Chapter 4
Top view of thickness gauge.
Page 11
The bolt and nut are for adjusting to zero.
Chapter 4
Thickness gauge in use.
Page 12
The gauge is a useful tool but you can do a good job measuring with a ruler around the edges and using
the rubbing board and your fingers. When using the rubbing board the top or back to be thinned must be
placed on a level surface. The side pieces, on the gauge are scrap rosewood glued on to give stiff'ness.
Chapter 4
Top held while planeing with hold downs.
Page 13
Diagram shows a method of graduating for sound. The thickness, and sound you wish to achieve will
ultimately ,through experience be found only by you. Personal observations , of many classical guitars
has given me a thickness range for tops of 2.5 to 1.8 mm. I personally favor thinner at the bass side and
thicker at the treble, in hope of booming basses and brilliant full trebles. The thickness or thinness I try
to achieve is 1.9mm at the bass side and 2.2mm at the treble in the region of the widest part of the lower
bout. Later when the fan braces are installed they to can be graduated to give the desired flex in different
regions. The knowledge of springing the top can only come through experience as each piece of wood is
different. The ideal classical guitar should be responsive in all areas, easy to play, with the ability to
color the sound in all regions and with good volume. It should be responsive the first time it is played.
The great composers of the past could not have heard their works played, if the musicians had to wait a
hundred years for the instruments to function properly.
http://mysite.verizon.net/nostberg/chapter4/step13x.htm27/12/2006 15:43:04
Chapter 4
Mark grain direction to avoid tear outs.
Page 14
Mark grain direction to avoid tear outs.
Chapter 4
Cabinet scrapers.
Page 15
.- A valuable tool with many uses, used in thinning , leveling, finishing, removing finish etc. I would be
lost without them. They require sharpening to a square edge and then a burr is turned with a burnisher ,
the burr is the cutting edge.
Chapter 4
Showing finish planeing residue.
Page 16
Note thinness, I seldom sand the interior of the top leaving the planed surface-top back and sides
showing the work of the toothing plane, smoothing plane and scraper.
http://mysite.verizon.net/nostberg/chapter4/tgague1.jpg
http://mysite.verizon.net/nostberg/chapter4/tgague1.jpg27/12/2006 15:43:51
Chapter 5
Constructing the neck
Page 1. The fingerboard and neck blank.

Page 2. A sawing guide for the peg head joint.
Page 3. A view of the sawing guide in use.
Page 4. A view of tools, a neck blank cut, and a finished neck.
Page 5. Neck and materials needed to glue neck
Page 6. Peg head joint done.
Page 7. Clamping and gluing the heel assembly.
Page 8. Another view of gluing the heel assembly
Page 9. Planing level neck and peg head face.
Page 10. Another way to build the heel.
Page 11. Layout of the neck.
Page 12. Finished neck layout and cutting the slot .
Page 13. Another view of slot cutting.
Page 14. The side slot cutting tool.
Page 15. Roughed out Torres neck blank.
Page 16. Torres neck roughout.
Page 17. Neck roughout.
Page 18. Neck blank.
Page 19. Neck blank.
Page 20. Peghead faceing overlay.
Page 21. Cut the peghead overlay oversize
Page 22. Peg head overlay in press.
Page 23. Sawing the peghead crest with a coping saw.
Page 24. Finishing the peghead crest.
Page 25. The peg head crest.
Page 26. The peg head crest.
Page 27. Tapering the peg head.
Page 28. A side view of taper
Page 29. The neck ready for assembly.
Page 30. Another view of the neck ready for assembly.
http://mysite.verizon.net/nostberg/chapter5/chapter5.htm (1 de 2)27/12/2006 15:45:00

Page 31. Neck ready the neck ready for assembly.

Page 32. View of the neck carving fixture.
Page 33. Neck slot close-up and neck rough carved.
Page 34. Neck to top joint detail showing the side slot positioning
Page 35. Finished Torres neck radisus
http://mysite.verizon.net/nostberg/chapter5/chapter5.htm (2 de 2)27/12/2006 15:45:00

Chapter 5
Page 1
A fingerboard and neck blank. The material for this neck blank is cuban cedar or cedrella, neck wood
should be cut on the quarter and well cured. Old furniture is a good source of cured wood. Some neck
woods are honduran and phillipine mahogany, ceresa or wild Cherry. Ship builders are a source of
wood, as well as the wood suppliers listed in the guild of american luthiers publication. The stock
thickness is 1 Inch and long enough to provide for peg head and the heel.
Chapter 5
Page 2
The angle for the peg head joint is easily cut by hand, make yourself a sawing guide as shown in the
image. The cutting giude has the same angle as the finished peg head and is also cut by hand. A piece of
hard wood log split and sawn works well for the sawing guide make the grain on the quarter for stability.
Chapter 5
Page 3
Another view of cutting guide in use to make peg head angle. The saw rests against the guide one hand
on the saw blade and the other on the handle for control. practice first on scrap wood.
Chapter 5
Page 4
A view of tools, neck blank cut and a finished neck. The joint surfaces must be planed to a perfect fit.
That the joint fits is important.
Chapter 5
Page 5
Prepared neck and materials needed to glue neck Joint. The twine used for tying/wrapping the neck joint
must be rubbed with paraffin to avoid sticking. Six inch wedges will also have to be waxed . These
wedges will be forced under the twine to tighten the glue joint. Small notches on opposing sides of the
joint are made. Their purpose is stop slipping of the joint while gluing -the twine when gluing is first put
in these notches pulling hard on the twine going round and round until done. The sharp tipped wedges
are then pushed in while taking care to keep sides of joint etc, aligned. Important. The joint must be
warmed, the opposing side of the glue joint must be moistened, the glue spread heavily to avoid starved
joint, pull twine tight, use fresh glue of proper consistency, work fast, practice on scrap. If a bad joint is
made pull or saw apart re-plane joint and reglue. Take pieces to be glued longer in case of Error.
Chapter 5
Page 6
Peg head joint done. Next take some pieces of the same wood as the rest on the neck, the same width as
the neck and cut lengths as in the images to make the heel and foot of the neck.
Chapter 5
Page 7
The heel assembly can be glued with clamps but I find it easier to use the iron bench hold downs. A
word about the bench and hold downs. The bench top is about three inches thick of pine most bench tops
are of hardwood but softwood has its merits it can be nailed into for Holding awkward pieces also notice
the many holes for holddowns, bolting fixtures, swing lamps etc, have a blacksmith make the iron
holddowns (it is not necessary to use steel) of three quarters round stock as in images with a foot to grip
the stock the foot is made by upsetting the iron and flattening. Make it plenty long. Drill a seven eighths
hole in the bench top For the holddown. If the holddown slips put chalk on it. Make at least two
holddowns. Plane the pieces to fit for the heel assembly mark the areas to be glued so as to have full
coverage. And that the assembly sequence is maintained and positioning is correct. Warm the wood ,use
heavy glue spread on both faces, put pieces together wiggle and push joints together ,as in rubbed joint.
Work fast and glue up the other pieces in like manner and then drive hold downs on assembly using a
wooden mallet. You are Done. Put wax paper under the assembly. Also put heavy coat of paste wax on
the bench top (Lundmarks paste wax is very good for bench tops and guitars it has no additives)
Chapter 5
Page 8
Another view of glueing heel
Chapter 5
Page 9
Plane level neck and peg head face. Square up sides.
Chapter 5
Page 10
Building the heel another way.
Chapter 5
Page 11
The length of the neck is determined by the scale length which is the distance between the nut and
saddle. A classical guitar has 12 frets to the body join. Always be governed By the scale when laying out
the neck length. Get some sheet aluminum From the hardware store and make templates as the image
shows. When the neck layout is complete square down the sides and make centerlines down the entire
length of the neck (both sides). The slots for the sides will be cut to the guitar side of the twelfth fret.
The side slots will have a slight curve To conform to the guitar shape. The long dark object is a straight
edge the type that linoleum floor layers use. On it is scratched the scale mark the Twelfth fret to avoid
error. The straight edge is an important tool and is Used to check neck straightness, in drawing plans, to
draw the center line of the neck and peg head it is flexible, top layout etc.
Chapter 5
Page 12
The neck layout is complete and you are ready to cut the neck slots. The slot is cut next to the twelfth
fret at the body side of the neck. Cut with care use a small mirror to see the other side of the cut. Caution
when clamping the heel assembly clamp in center of vise make certain heel fits. Shim if necessary if
heel or vise jaws do not fit.
Chapter 5
Page 13
Another view of slot cutting. Remember the depth is not equal. Proceed with caution, always double
check your layout, or the old saying (I cut it off twice and it is still too short) may ring in your ears. As it
has in mine.
Chapter 5
Page 14
The side slot cutting tool. Nothing more than a thick keyhole saw blade, try to find one about three thirty
seconds of an inch thick. If too narrow set the teeth a little more. Take a piece of scrap wood and put
handles on it. The sides are fitted without forcing, they are not glued in. A small wedge or spot of glue in
the inside of the guitar to stop any buzzing is all that is needed.
Chapter 5
Page 15
Torres neck blank rough out. In the image is a rip saw handy for many things, cut or rough out about one
eight inch Oversize.
Chapter 5
Page 16
Torres neck roughout.
Chapter 5
Page 17
Neck roughout.
Chapter 5
Page 18
Neck blank.
Chapter 5
Page 19
Neck blank.
Chapter 5
Page 20
Peghead faceing a decorative peg head overlay that also helps strengthen the peg head. Traditionally a
scrap from a guitar back with black and white veneers underneath. A veneer cutting tool can be made
from an old butcher knife carbon steel is preferred cut teeth in it and sharpen like a knife, a paper cutter
is great for cutting Veneer.
Chapter 5
Page 21
Cut the peghead overlay oversize. Locate the overlay with small brads into the peg head. Locate the
brads in the machine head slots or where a peg will go. Cut off the head of the brad and slide overlay
off. Drill holes slightly larger for ease in gluing. Make a piece of wood with a cork face and clearance
for the brads for clamping the peg head overlay. Wax the cork and put wax paper between the overlay
and the cork. Warm the woods, a hair dryer works well, spread glue, for components one joint at a time,
when the overlay is glued, put wax paper, cork faced wood cork to overlay and clamp or press. Move
rapidly have and have everything ready.
Chapter 5
Page 22
Peg head veneer overlay in press.
Chapter 5
Page 23
Sawing the peghead crest with a coping saw note tooth direction in image.
Chapter 5
Page 24
Finishing the peghead crest (corncobs make good file and rasp handles)
Chapter 5
Page 25
The peg head crest.
Chapter 5
Page 26
The peg head crest.
Chapter 5
Page 27
Tapering peg head. Many traditional spanish guitars had a tapered peg head it adds to the appearance
and lightens the peghead.
Chapter 5
Page 28
Side view of taper which will be less when neck is finish carved and blended in.
Chapter 5
Page 29
Neck ready for assembly.
Chapter 5
Page 30
The neck ready.
Chapter 5
Page 31
The neck ready.
Chapter 5
Page 32
A view of neck carving fixture.
Chapter 5
Page 33
Neck slot close-up and neck rough carved.
Chapter 5
Page 34
Neck to top joint detail showing the side slot positioning, a rebate is cut to allow the face to be flush
with the neck.
Chapter 5
Finished Torres neck radisus.
Page 35


Chapter 6
Bending the sides
Page 1. Bending irons.

Page 2. An image of unbent and bent sides.
Page 3. How to use the iron.
Page 4. A finished side.
Chapter 6
Bending the sides
Page 1
Bending irons to the left is an antique violin makers iron heated by a spirit lamp. In the middle is a
modern electric iron and at the right is an iron made of three inch diameter pipe squeezed in the vise to
an oval eight inches back from the end faceing you with a movable end cap for heat control. The pipe
has a hole cut at the dark area in the image for heat from a gas burner to enter, at each side of the hole
are fixed iron bars for clamping to the stove. The end of the pipe is capped. Pipe is also used to make
vertical bending irons they are about a foot tall,capped on the bottom with legs. They are heated with
charcoal,cotton or rags soaked in alcohol or kerosene provide heat. The electric iron is safer and emits
no fumes.
Chapter 6
Bending the sides
Page 2
An image of unbent and bent sides. You will find that it is not difficult to bend sides once the sides are
thinned to the proper thickness which varies from 2.5mm to 2mm and you have marked the location of
the waist. Put them in water for 15 minutes and you are ready to bend. Practise on scrap wood first.
Chapter 6
Bending the sides
Page 3
Start at the waist. Heat your bending iron to a temprature that will brown a piece of white paper placed
upon it. You will place the waist mark at the center of the iron and push with both hands use a rocking
motion to help keep the bends smooth. Do not put your hands too far apart as this gives to much
leverage and you may break the sides. When the waist fits the pattern turn over the side start at the upper
bout and bend to shape . Wet the wood with a rag or sponge as you bend it will make it easier. Do not be
concerned if you over bend simply bend it back. Bend as close to your pattern as possible. It is not
necessary to put the sides in a form as when you are ready to assemble the guitar you will bend again to
correct any distortion wetting with a rag or sponge.
Chapter 7
Make and Install Rosette.
Page 1. Make and install rosette

Page 2. Make thin rosette materials with a jointer plane
Page 3. Strip thinning tool gravity type.
Page 4. Another strip thinning tool.
Page 5. Cutting tiles.
Page 6. Strip cutting fixtures.
Page 7. Strip cutting with hardwood guide and scrollsaw.
Page 8. Push sticks.
Page 9. Glue up dental mold.
Page 10. Tile cutting.
Page 11. Cutting herringbone tiles
Page 12. Glueing herringbone tiles
Page 13. Cutting and assembling herringbone
Page 14. Tile making
Page 15. Assembly of the rosette
Page 16. Finished rosette
Page 17. Inlaying the rosette into the top
Page 18. Glueing the rosette
Page 19. Leveling the rosette
Page 20. Cutting the sound hole with a circle cutter
Page 21. Cutting the sound holes
Chapter 7
Make and install rosette
Page 1
Rosette fixtures and materials, at the top of the image are finished rosetts and various sawn strips used in
the fabrication of the rosette. Above the ruler are glued up tile logs and glueing fixtures. The small
squares in the middle are tiles cut from the log. Beneath the ruler are, top to bottom, herringbone glueing
fixtures and completed herring bone and multicolored strips which make up the completed herringbone.
Next are strips which form the other parts of the rosette. When glueing up laminated pieces that are to be
bent, add 10% glycerin to the hide glue to make the glue more flexible ,as hide glue drys very hard.
Chapter 7
Make thin rosette materials with a jointer plane
Page 2
Make thin rosette materials with a jointer plane and wetting the wood. The 0.03 mm strips in the Torres
herring bone can be made using a hand plane. Use a very sharp jointer plane,first wetting the wood and
letting the water soak in for a little while. Then with the plane iron set for a deep cut plane thin wood as
in image. Great force is required.Basswood/linden or similar woods work good for planeing thin
materials.
Chapter 7
Strip thinning tool gravity type.
Page 3
Wood can be thinned by pulling over a plane iron to very thin dimensions. The tool in the image has a
block plane suspended on the string to apply pressure to the strip to be thinned. Note the strips on each
side of the middle wide strip, these are gauges the thickness of the finished materials desired.
Chapter 7
Another strip thinning tool.
Page 4
In Dennis Diderots Le Luthier circa 1750, plate 8 vol 5, fig 38 is pictured a fillerie a filets or strip
thinning tool. This tool works good and if you choose to make one have a black smith forge a thick
blade so you will have less chatter. The thin modern plane irons tend to chatter.If your wood is very dry
and brittle moisten it and it will not break as easily when pulling. Set the iron on a slight angle to allow
the strip to feed into the blade.To prepare the wood to be thinned saw rough strips with a handsaw, table
saw or band saw,planeing the next piece smooth before sawing.Put the planed side down in the strip
thinning tool set the iron or put the weight on the gravity type and pull the strips to dimension.
Chapter 7
Cutting tiles.
Page 5
Cutting tiles can be done with a small homemade miter box or easily cut with a slide fixture made for a
scrollsaw or band saw as in image. A word about saw tables,purchase only saws with square or
rectangular tables which will allow you to make various types of sliding fixtures.
Chapter 7
Strip cutting fixtures.
Page 6
Strips can be cut with a veener knife and guide,table saw or a fixture can be made for your band saw etc.
Chapter 7
Strip cutting with hardwood guide and scrollsaw.
Page 7
Squares can be cut from thin woods for the logs for rosette tiles. With care the pattern can be laid
takeing the layers and dipping the ends in glue and setting one on top of the other. If you are going to
make a lot of one pattern then take 2cm wide by 10cm long, strips of colored veneer and glue them until
you have one layer of the pattern you desire,continue making the rest of the layers. Then saw them and
assemble the multicolored strip assemblys into the tile log. The log is then cut as one would cut a
sausage to make the tiles.
Chapter 7
Push sticks.
Page 8
An eraser mounted on a stick is usefull and safe for sawing small wood.
Chapter 7
Glue up dental mold.
Page 9
Glue up dental mold.,add 10% glycerin to glue for ease of bending, stir well.
Chapter 7
Tile cutting.
Page 10
Cutting dental mold lamination a fine hand saw an miterbox can be used,or a table saw as in the image.
A fine circular saw can be used have one ground thin or purchase one from luthiers supply houses
Chapter 7
Cutting herringbone tiles
Page 11
Cutting herringbone tiles is easy if you take the time to make fixtures. The tiles can be cut with a fine
hand saw and a homemade miter box, or with a sliding saw table fixture as in the image. Put paraffin on
the saw blades to stop glue from sticking and for ease of cuttingTo apply paraffin push block of paraffin
into saw blade while running. Use your push sticks or a paint brush to remove sawed pieces as in images
and you will save your fingers.When making the fixture you can change the angle to suit your taste or
follow the angles stated in Romanillos book Antonio de Torres. A fine blade is used with a wood insert
to give zero kerf. Fixtures can be also made for band saw or scrollsaw.
Chapter 7
Glueing herringbone tiles
Page 12
Glueing herringbone tiles, put 10% glycerin in the hide glue as the herring bone has to bend around the
curve of the rosette. When you glued up the stack for cutting the herringbone tiles you used and equal
number of colored strips, example-7 black and 7 white this will give you black on one end of the tile and
white on the other. Glue up the herringbone tiles on a non stick surface a waxed board,strip of delrin
plastic etc. Plastic supply houses have trimmings and cut off's that can be purchased at a reasonable
price. Note the green blocks in the image these are lead weights that I cast for use in glueing. I stongly
recommend that you make these weights ,put a cork face on the bottom, drill finger grips and paint them
to prevent lead residue on the hands. These weights are used for glueing fan braces,inlays,back etc. As
gravity is always present these weights will never get out of order. I see go bar decks recommended in
many publications ,the go bar deck is a clumsy, slow, complicated method of applying pressure. In all
things in life get to your desired end result efficiently.
Chapter 7
Cutting and assembling herringbone
Page 13
Cutting and assembling herringbone, first you must cut the herringbone tile strips into strips a little
thicker than the finished rosette to allow for surfaceing when installed in the guitar top. As you cut each
strip you must cut one then the next and gently tie these together with a string ,these are a pair with the
laminations close together which will give you a good match.Next cut your white middle strip. Now
make a glueing fixtures and strings as in the image wax them heavily to prevent glue from sticking.
Antonio Torres cut the herring bone strips and matched them in the center of the total finished
lamination creating a pleasant visual effect, see bottom of image, you can vary this joint for other
effects. Take a little time to try variations of this joint. Now you are ready to assemble the herringbone.
Use hide glue with 10% glycerin, place the strips to be assembled in the proper order to avoid
assembling in the wrong direction. Put glue on the first herringbone segment then put on the middle
strip, then the next herringbone segments until done takeing care that all joints are tight. Place assembly
in fixture,wrap with string, push all into place and you are done.
Chapter 7
Tile making
Page 14
Tile making the tile strips can be cut individually and assembled for a design, but assembly is difficult.
A much easier way is to cut strips as in the image and assemble. In the image are black and white strips
which will be used to create a simple checkerboard design. This design was used by Torres and is a good
starting design for demonstrating the process. The woods used for the checker board tile are ebony for
the black. I used trimmings from fingerboards, the black in the herring bone is also ebony. The white
wood is Basswood or Linden. Cut the woods with a fine toothed saw blade on a circular saw, band saw
or scroll saw to the thickness of the squares in the pattern. You will decide the thickness as you are
designing the rosette and are not governed by standard veneer dimensions. Even when using standard
veneers it is desirable to change dimensions by pulling the veneers through a strip thinning tool to a
different thickness, to break the monotony of standard dimensions and to achieve a unique visual effect.
Note in the image that there is a black on top and white on the bottom this is for reversing the pattern to
give the checkerboard effect. These strips should be glued in a stack in a fixture that looks like the
fixtures in the image and bound with string. Use regular hide glue without the glycerin as these tiles are
not required to flex. The glue will be dry in about an hour and a half and you can saw the stack the same
thickness as the tile squares. You now have multicolored strips that are to be stacked, reversing each
layer to give from the end of the log the appearance of a checkerboard. Glue them up and when dry cut
your tiles using the methods described elsewhere in this site. When cutting tiles hold a paint brush over
the tile to prevent the tile from flying and becoming lost also use your push sticks with eraser ends to

grip the log when it becomes short.This is the principle that you can use to make infinite varieties of tiles
the only limit being your imagination. To make different patterns you can layout the design layers and
use colored pencil.To make a flower draw the flower divide it into squares, graph paper is handy for this
and create your layers in wood. Inlay making is time consuming be patient keep trying and you will
master the process. You will be able to say that you made the complete instrument as did Torres and
other great makers. On a number of occasions I have been asked where did I buy the pretty decal around
the sound hole, which is a bit discouraging but then I realized that many individuals have never seen
marquetry and you like I,will have fun explaining the process.

Chapter 7
Assembly of the rosette
Page 15
Assembly of the rosette is enjoyable because after all the planning and construction of the various parts,
that which you conceived is becoming a reality. Wax heavily a piece of softwood which will be your
assembly board cedar or soft pine is good and put plastic sheet or waxed paper on it. Next make your
rosette interior dimension disk of 2.5mm plexiglass or wood heavily waxed wood, make it larger than
the size of your 85mm sound hole the margin is that which pleases you. Put a wood screw in the middle
for mounting to the work board. Get some pins as in the image these are for holding the various
elements of the rosette during assembly. Try to get the pins with the large top as they will be easier on
your thumb. Heat up your glue and thin it so it runs easily off the end of your brush. Have a hot plate
with hot water and an extra jar of glue heated. In case you should run out of glue or spill your glue pot,
and a rag wet with water for cleaning as you proceed. In the image on the right are strips, herringbone
and tiles in proper order. Set up the order for your rosette on a bench away from where you are working.
Go to the rosette pieces and take three of the starting strips and having everything ready dip the ends in
glue and start at the lower left or right, whatever is easiest for you. Proceed glueing and pinning in about
an hour start another layer. When glueing herring bone or other laminates to be bent use plenty of glue
as the glue will soften the design and avoid damage. When bending herringbone put two strips on the
outside this will also avoid damage. Tiles will have to be set close by, a piece of wood with groves for
the loose tiles works well. Place the tiles with two outer strips and go around. Keep cleaning the excess
glue as glue build up will be in the way of the next layer. Proceed in this manner until done.
Chapter 7
Finished rosette
Page 16
Finished rosette can be scraped and leveled while on the rosette disk. Take care not to use too much
force in scrapeing as you may loosen tile pieces. Remove from disk and level back of rosette take some
glue and work it into the rosette. This rosette contains 2,164 pieces.
Chapter 7
Inlaying the rosette into the top
Page 17
Inlaying the rosette into the top is done by first locating the sound hole center as in the plan take your
85mm sound hole template and draw around it. Trim the rosette ends and make certain the edges are
smooth. Now lay your rosette in position and go around it with a sharp knife or draw around with a
sharp pencil. With a sharp knife score the rosette margins 2mm or less deep with a chisel or router
remove carefully the area to receive the sound hole. When the rosette fits without forceing you are ready
to glue it in.
Chapter 7
Glueing the rosette
Page 18
Glueing the rosette using regular strength glue and lead weights is easy. Notice the semicircular wood
pieces that the weights are resting on make some slightly less in width and length than the rosette and
wax them. Put some waxed paper on a flat surface, put the top in position, have everything ready. Put
glue in the cavity and on the rosette (CAUTION MARK THE TOP OF THE ROSETTE TO AVOID
REVERSING) put glue on the rosette, install rosette, place waxed paper on rosette, place wood strips,
add weights and you are done.
Chapter 7
Leveling the rosette
Page 19
Leveling the rosette with a low angle plane and scraper takes care. First coat the rosette with glue to fill
and make certain the rosette elements are secure and to fill cavities let the glue dry. In the image is a
Stanley no. 60-1/2 block plane it is a good plane to have in the shop, It is usefull for many things.
Chapter 7
Cutting the sound hole with a circle cutter
Page 20
Cutting the sound hole with a circle cutter is easy make your self one or modify one. The blade on the
ones commonly sold must be ground as in the image to work well, set the blade to cut a 85mm hole.
Make a laminated workboard with a ¼ inch hole to receive the shaft of the circle cutter. This board is
also usefull for thinning and other things. Cut the sound hole one half way only. Finish the surface of the
hole after the finger board is on.
Chapter 7
Cutting the sound holes
Page 21
Cutting the sound holes other half from the back side will eliminate tear outs in the wood.
Chapter 8
Braces and Fan Braces
Page 1. Brace layout

Page 2. Connect dots
Page 3. Cutting the sound hole
Page 4. View of soundhole cutter
Page 5. Planing Braces
Page 6. Braces cut ready to glue
Page 7. Glueing fan braces
Page 8. Glueing main braces
Page 9. Finished top
Chapter 8
Brace layout
Page 9
Using the template you have made from the instructions contained in Torres full sized plans, mark the
locations of the braces. Wood grain direction and brace contours are shown in plan section 21. Fan brace
grain is vertical to the plane of the top. Main braces are at an angle as seen in many old Spanish guitars.
Use dry spruce, pine or fir for brace material. A good source of aged brace material is old wall studs
from building demolition or remodeling sites. Trimmings from the top, before thinning is good for fan
braces. Splitting the wood provides better braces. Using different wood species for braces will not harm
the sound and may give you the ability to alter sound slightly using harder or softer woods.
Chapter 8
Connect dots .
Page 2
Connect dots by drawing lines as in the image
Chapter 8
Cutting sound the sound hole.
Page 3
Cutting the sound hole is done before glueing the braces. Cut the hole slightly more than half way from
each side to give a clean cut and prevent damage to the workboard. Finish the sound hole edge radius
after the banding and fingerboard are done.
Chapter 4
A traditional way.
Page 4
Using twine and wedges, the center board under the joint is waxed and has waxed paper also. Mount the
jointing fixture in a leg vise. Again leave a gap for glue, pull the joint together, wrap with twine pulling
as you go caution wax all your twine used for glueing with paraffin or it will be glued to the work, slip
waxed wedges under the twine as in image. Separate the wedges and work with waxed paper.
Chapter 8
Planeing braces
Page 5
Images of a small shooting board used for planeing braces. A low angle block plane works well. If the brace does not plane good, plane in a different direction. The brace shooting
board has wood pegs at each end that act as stops for the brace. Put a thin strip of wood when at the small end of the tapered brace when edge planeing to maintain a perpindicular
brace when glued to top or back. Braces do not have to very accurate but must not be too large or too small.






Chapter 8
Braces cut ready to glue.
Page 6
Braces cut ready to glue. IMPORTANT-- all glueing is done on the dished solera, rosette side down to
create the domeing of the top.
Chapter 8
Glueing fan braces.
Page 7
Glueing fan braces, starting with the fan braces spread glue on both surfaces place weights on fans. Glue
two braces at a time as in image support weight on single braces with a trimming from a brace. Lead
weights or bricks will do. In Mexico in 1954 I saw a guitar maker using stones. When the fan braces are
dry finish their shape taper the ends and put a drop of glue on the feather edge as Torres did., as it is
easier before the main braces are glued. To finish fan brace contours use plane, chisel and shaped
sanding blocks. IMPORTANT-the fan braces are NOT fitted to the contour of the solera but pressed into
the solera, locked by the glue and when dry creating a spring.
Chapter 8
Glueing main braces.
Page 8
Glueing main braces, again I repeat shape fan braces first. Next glue sound hole plate takeing care to
remove glue squeeze out from recess that will receive the tornavoz. Now glue the pre fitted to the
contour of the solera main braces. When all is dry sand if you wish the inside of the top, Torres did not
remove the glue squeeze out, as it is not necessary and will not affect the sound.
Chapter 8
Finished top.
Page 9
Note that the top in the image is made of three pieces. The cleats are to reinforce the joints.
Chapter 9
Liners Peones and Glue Blocks.
Page 1. Liner Blocks

Page 2. Image of linings completed
Chapter 9
Liner blocks.
Page 1
Liner blocks have various names, among them are,peones,contraaros,linings,glue blocks etc. Their
purpose is to give added glueing surface to the sides.They must have enough surface to allow for the
removal of wood for the banding and still support the top and back. Pine,spruce,mahogany etc. are used
for liners.A light wood is prefered as heavy woods add excess weight to the guitar.
Chapter 9
Image of linings completed.
Page 2
Image of linings completed. When glueing individual lining blocks to the face give them a heavy coat of
glue and press them in. Individual blocks are my choice as the grains are mixed and give greater strength
and follow irregular surfaces.When gluing back liners hold the top surface higher than the sides for ease
of planeing when fitting the back.
Chapter 10
Body Assembly Install Neck, Top, Sides, Glue and End
Blocks, Back Liner Back and Glue Back
Page 1. Exploded view of guitar body

Page 2. The neck is now glued to the top in the image
Page 3. Note grove at top edge for tornavoz
Page 4. View of tornavoz
Page 5. Neck top joint
Page 6. End block clamping
Page 7. Weight the top and put spreaders to hold sides
Page 8. A night light
Page 9. IMPORTANT
Page 10. Liner glueing
Page 11. Glueing of liners completed
Page 12. Fitting of the back requires patience
Page 13. Gluing the back
Chapter 10
Exploded view of guitar body
Page 1
Exploded view of guitar body,the top is complete except for cutting the braces to allow the sides to rest
on the inside of the guitar top,this will be done after the neck is glued to the top. In preperation for
glueing the neck to the top a recess must be cut to allow the fingerboard side of the neck to be flush with
the outside of the top this recess must fit perfectly to the interior of the top. Caution this is an angled cut
as the neck is at an angle created by the solera to make correct action height. Also as the top is domed it
will be slightly curved. Think before cutting the neck do not rush and when cutting allow extra wood for
final fitting.
Chapter 10
The neck is now glued to the top in the image
Page 2
The neck is now glued to the top in the image. When gluing the neck make certian that the center line of
the top and neck is aligned with the center line of the solera.Prior to glueing the neck to the top, tape a
piece of waxed paper to prevent gluing the top/neck joint to the solera.In additon the solera should have
a coat of shellac or french polish plus paste wax to protect and provide protection in case of error. After
the neck is glued to the top, remove the top/neck assembly,place the side forms on the solera and bolt
down. Place the bent sides into the solera with side forms attached,heat up the bending iron and give the
sides a final bending ,fitting them as close as possible without forcing to the sides. They will overlap and
must be cut at the centerline of the solera,then cut the sides at the neck joint cut them slightly shorter
than necessary to achieve a slip fit. The sides of the guitar are not glued to the neck but have a spot of
glue or a small wedge glued in the interior to stop buzzing. That it is not glued does not affect the life of
the guitar, I have observed 150 year old guitars with this joint not glued and the guitar is in good
condition. When sides are fit,remove side forms and remove side form filler block to allow the neck to
pass through the side form. Then make three eights inch thick by two inch square shims with a hole in
the center fitting loosely the side form bolts ,these blocks are placed between the solera and the side
forms to give clearence for the top neck assembly. Now make certian to put waxed paper at the neck
side joint and at the end block area,place the top,neck,side assembly on the solera,align all with the

solera centerline and clamp in sound hole and weight the top as in images. Now place shims on solera
and bolt side forms to the solera.DO NOT GLUE THE SIDES TO THE TOP OR TO THE NECK
JOINT.

Chapter 10
Note grove at top edge for tornavoz.
Page 3
Note grove at top edge for tornavoz.
Chapter 10
View of tornavoz
Page 4
View of tornavoz installed in grove to test fit. Remove Before assembly.
Chapter 10
Neck top joint.
Page 5
Neck top joint.
Chapter 10
End block clamping
Page 6
End block clamping.Put waxed paper to protect side form. Woods commonly used for end blocks are
pine,spruce,basswood/linden etc. Do not use heavy woods as they add weight to the guitar. You are now
ready to glue the liner blocks just put some glue on and press.
Chapter 10
Weight the top
Page 7
Weight the top and put spreaders to hold sides ,then put weight on sides, a board with a brick is good
before installing liner blocks.
Chapter 10
A night light
Page 8
A night light and long chord with a metal sheild to protect the guitar.This tool is usefill for interior
inspection,fitting back, makeing repairs etc.
Chapter 10
IMPORTANT
Page 9
IMPORTANT cut and fit back braces before installing liners,mark the brace ends on the sides of the
guitar,for ease in fitting the back.
Chapter 10
Liner glueing
Page 10
Liner glueing is easily done with wooden clothes pins,modify the clothes pins to obtain a good fit.Apply
glue to both surfaces work fast in warm room.
Chapter 10
Glueing of liners completed.
Page 11
Glueing of liners completed.
Chapter 10
Fitting of the back
Page 11
Fitting of the back requires patience. Make certian that the neck and end block and braces fit, remember
that the back is not flat, it is curved in all directions.Do not force the top to the sides,plane the sides,end
block and neck until the top fits.You have work and time invested ,go slow and think, if things are not
going well get a good nights sleep and things will go better when you are rested.
Chapter 10
Gluing the back
Page 13
Gluing the back, warm the back and top with a hair dryer and have the room warm. Have your weights
and twine ready.coat both surfaces work fast putting extra glue on the neck and end block joint. Weight
the neck and end block areas first then weight around the sides use lead or bricks for weight.Try to get
the glue surfaces together rapidly,then wrap with twine or leave weights. the twine is wrapped to 3
penney nails driven into the bottom of the solera.
Chapter 11
BANDING AND PURFELING.
Page 1. Banding and side joint inlay

Page 2. Close up of banding channel and back bandings fitted
Page 3. Another way to hold the guitar when banding
Page 4. Using the guitar holding fixture
Page 5. Some Banding and Purfiling Tools
Chapter 11
Banding and side joint inlay
Page 1
Banding and side joint inlay at bottom of the guitar must be installed before the fingerboard. Note the
fixture for holding the guitar,it has many uses,banding fretwork,finishing etc. The tools in the image are
used for cutting the channel that will receive the banding,a violin purfeling cutter with one blade can be
used. A router can also be used to cut the channel ,a special bit for this purpose can be purchased from
luthiers supply companies—Stewart Macdonalds-21 N. Schafer St.-Box 900- Athens,Ohio-U.S.A.-
45701-----Luthiers Mercantile International-P.O. Box 774-412 Moore Lane- Healdsburg,California-U.S.
A.-95448. Using a router will save you time and will do a good job. The banding strips can be made of
trimmings from the sides, which are cut oversize by wood suppliers,multi colored veneers are added for
a decorative effect. The banding strips are not glued before banding but are fitted and glued in loose,
starting at the waist,held by a good quality strong masking tape.The channel to receive the inlay where
the sides meet at the bottom should be cut also.
Chapter 11
Close up of banding channel and back bandings fitted
Page 2
Close up of banding channel and back bandings fitted. The tape at the waist is where you will start
glueing. Another method used ,is to glue in binding with a scarf joint ,the banding running past the
center line.
Chapter 11
Another way to hold the guitar when banding.
Page 3
Another way to hold the guitar when banding. The guitar neck is clamped in an upright vise or leg vise,a
block is made to fit the radius of the back of the neck. Have your tape strips ready,you will need a lot of
strips,work fast.
Chapter 11
Using the guitar holding fixture
Page 4
Using the guitar holding fixture. Note the loose banding strips being fitted.The fixture is adjustable,note
slots and wing nuts. I strongly advise you to make this fixture as it has many uses, Banding can also be
held with twine.
Chapter 11
Some banding and perfling tools
Page 5
In the above image is a series of tools that can be used to cut the banding channel. Multi colored,glued
with hide glue and bent banding strips are also shown. Shown are a Laminate trimmer with roller guide,
Router bit for banding cutting with different rollers to allow for different width banding, wooden router
plate banding guide,gramils a wood or metal tool for cutting lines in wood. The gramil or cutting guide
is the traditional tool . Many old time makers had wooden non adjustable gramils for cutting various
widths and height banding channels.
Chapter 12
Fingerboard and Frettboard Gluing, Dress Fretts.
Page 1. Glueing the finger board

Page 2. Ready to glue fingerboard
Page 3. Plane the fingerboard
Page 4. Layout and sawing the fret slots
Page 5. Sawing the fret slots
Page 6. Install the frets
Page 7. Finishing the frets
Chapter 12
Glueing the finger board
Page 1
Glueing the finger board,before the actual glueing some preperations must be made.the board is
thicknessed to about ¼"or as in your plan. The area from the 12th fret to the sound hole must have the
fingerboard fitted to it as the curvature of the top and the neck angle make fitting necessary.After the
board is fitted (a twist in the board is of no concern as the clamps will remedy this) next you must take
some small brads,mark frets 1 and 12 and clamp the fingerboard with the neck/body join and the 12th
fret in alignment the 12th fret being exactly above the joint, and with the center of the fingerboard in line
with the center line of the guitar and neck. Drill some holes the size of the brads through the fingerboard
at 1 and 12 into the neck, the brads will be used to align the fingerboard to the neck to stop slipping
whilst glueing drive the brads into the fingerboard leaving the head a little proud of the top of the board.
Once the board is ready gather up your clamps and make a test clamping to make certain all is in good
order.CAUTION IF YOU HAVE NOT INSTALLED THE BANDING STOP NOW AND DO IT !!
Chapter 12
Ready to glue fingerboard
Page 2
Ready to glue fingerboard, again I repeat have all in readyness warm the neck and fingerboard-
IMPORNTANT-wet the side that does not receive glue to counteract the moisture in the glue and stop
warping DO NOT WET THE GLUE SIDE. Apply the glue with a natural bristle 1"brush with hair cut
short leaving ¾", dipped in hot water from your glue pot and squeezed out. Make certain the wood is
warm,apply glue to fingerboard and neck/top area,line up the brads press fingerboard and nails onto
neck and top,clamp quickly,put small clamps to clamp fingerboard end at the sound hole. I like to cut the
fingerboard off in advance at the sound hole leaving it a little long for rasping to conforme to the
soundhole radius. Go over your clamps and see that they are all squeezing out glue,bring them up tight.
Let the glue squeeze out jell a bit and remove it from the edge of the fingerboard/top join using a narrow
thin piece of wood,then with a damp warm cloth wipe the area. It is done. Now you must wait at least a
week to allow the moisture to leave and the neck and board to settle.
Chapter 12
Plane the fingerboard
Page 3
Plane the fingerboard, you have waited a week and busied yourself with other things and now you are
ready to plane the fingerboard. Get a straight edge and plane away any irregularities using a very sharp ,
low angle block plane,takeing fine cuts until straight. If your neck set is correct there will be little to
plane. Now to compensate for the pull of the strings put a block to support the neck at the area of the
nut, press in the middle of the span between the nut and the twelfth fret. Observe using a straight edge
how much deflection there is. Next take your fine set plane and plane away from the center point in both
directions to achieve a 1/64 crown in center press again using about 10lbs. pressure,repeat until straight.
This takes experience so go slow. Finish the board with a scraper and fine sand paper leaving the edges
square.There will be a slight crown is the center, this will go away when string tension is applied.
Chapter 12
Layout and sawing the fret slots
Page 4
Layout and sawing the fret slots, make yourself a template of the fret scale from nut to saddle. Clamp the
fret scale to the fingerboard and mark the positions with a sharp pencil remove the template and mark
each fret with a sharp knife.Now get a dovetail saw as in the image a Disston dovetail saw is a good saw,
the kerf will be too wide,you will have to take a wet stone to the sides of the teeth removing the set until
the kerf fits the T section snugly but not tight. If the frets are driven into a tight slot the neck will be
forced backwards also the frets will be distorted.
Chapter 12
Sawing the fret slots
Page 5
Sawing the fret slots, take your fret saw and mark the slot depth by putting masking tape to act as a
guage,rub some pariffin on the saw teeth, take a scrap of hardwood and practice cutting slots and
installing frets.Look into the image at the tools,upper left a coil of fret wire, upper right notice the sheet
iron guards to protect the top,middle the saw with tape, lower left a nippers ground sharp to to remove
frets and files.
Chapter 12
Install the frets
Page 6
Install the frets,take a strip of fret wire straighten it check that the T section is not distorted get a block
of ¾" hard wood and saw a fret slot in it. Put the fret end in the slot in the wood block and file a bevel on
it. Now run a little glue or shellac in the slot and wipe with a damp cloth,install the fret pressing and
hammering gently starting at the ends. When the fret is bedded take a small three corner file and file
until you can remove the fret wire. Go over the fret and make sure it is bedded,wipe away glue with a
damp cloth dry the board and take a piece of strong ½"masking tape and tape over the fret pressing
down the tape hard. Continue until the fingerboard is fretted.
Chapter 12
Finishing the frets
Page 7
Finishing the frets,let everything dry and remove the tape.Get a large fine cut file,when buying the file
make sure the file is straight many are warped from the heat treating process. File gently in one direction
from the sound hole towards the nut keep moving the file to avoid one area from excessive fileing .
When all the fret tops are hit you are done (remember not to file away the crown in the fingerboard).
Next file the fret edges uniformly as well as the short frets at the soundhole. Now get a slim taper saw
filers file as in image and grind away one of the three edges polish the ground edge until smooth Put
some masking tape on the flat opposite the ground edge. File along the long axis of the frets rounding
the fret almost to the flat made by the large flat fille and dress the fret edges removing all burrs.Next run
a wetstone from soundhole to nut. Then take a piece of fine sandpaper and go over the frets. Finish by
wiping with a damp cloth and let dry this produces a satin finish not a slippery one.
Chapter 13
Surface Preperation, Scraping, Sanding Damping Off.
Page 1. Finishing the heel and neck

Page 2. Leveling the back and sides
Page 3. Holding fixture reversed
Page 4. Surfacing the top
Page 5. Fitting the pegs and machine heads
Page 6. Correcting defects and filling
Chapter 13
Finishing the heel and neck
Page 1
Finishing the heel and neck should be done with care to not mar the sides and fingerboard. The neck is
left oversized in construction and now requires to be brought to final dimensions. Protect the sides with
masking tape. The rasps you will use should have the ends smoothed and polished so they will not
damage the sides. Use chisel and rasps to carve close to finish dimensions taking care not to rasp the
fingerboard too deep. Next finish with cabinet scrapers and sandpaper. Drill the peg holes or fit the
machine heads if you haven’t already done this. Proceed with caution as you already have many hours of
work invested in your instrument.
I would like to recommend some books about wood finishing that will help you. The first is - Staining
and Polishing, edited by, Charles H Hayward, J.B.Lippincott Company, Philidelphia and New York,
Printed in Great Britian. Next is Understanding Wood Finishing by Bob Flexener, Published by Rodale
Press, Emmaus, Pennsylvania, Printed in the United States of America. These books have chapters
describing the French Polishing process and other useful information. Staining and Polishing is a
documentation of traditional English finishing processes. Understanding Wood Finishing broaches
modern techniques also. The internet also has sites about French polishing and surface preperation study
them.

A good wood filler was recently recommended to me by the well known American guitar maker Robert
Ruck the filler is Elmers Carpenters Interior Wood Filler. Color can be added to this filler at your
hardware store if they mix paint. Test all fillers on scrap wood before using on your guitar. Pumice and
plaster of paris are also used as fillers.
At the end of the forgoing steps you will damp off the guitar to achieve a dead surface to apply the
French polish. Damping off entails applying warm moisture with a soft rag dipped in hot water,wrung
out and applied to the surface of the guitar in order to raise the grain. When the guitar is dry sand with
fine sandpaper and damp off again. Repeat this until the grain no longer raises.

Chapter 13
Leveling the back and sides
Page 2
Leveling the back and sides is easily done with scrapers and sandpaper. It will be easier if you make
holding fixtures so the guitar does not move. When working on the back make a long strip of wood that
fits the top as in the image to keep the guitar steady and protect the top/ The height of the strip should be
thick enough that the fingerboard and the strip sre on the same plane. Round or chamfer the banding
edges so you do not dig into the banding when scraping. Do not use excessive pressure as there is a
danger of cracking the back or top. Put a soft cloth under the guitar to protect the guitar. See Chapter 0
for sharpening instructions. After the back and sides are scraped sand with medium to fine sandpaper.
Many ancient makers finished the surface with scrapers using little abrasives. If you are allergic scraping
will enable you to avoid sanding dust. Remember that the corners of your scrapers must be slightly
rounded to avoid digging in.
Chapter 13
Holding fixture reversed
Page 3
Holding fixture reversed to allow support for the peg head to give a different angle of attack for scraping
and sanding. Also note at the upper left of the body two cork faced sanding blocks. Put an angle on the
edge of the sanding block to allow you to work corners and the side of the fingerboard with ease. You
will also need non-cork faced sanding blocks for accurate leveling.
Chapter 13
Surfacing the top
Page 4
Surfacing the top is done in the same manner as the back but requires a lighter touch, as the wood is
softer. Notice in the image that the fan braces are visible due to shrinkage of the glue joint. These
undulations are usually removed in the scraping and sanding process. I prefer to leave a little of the fans
show on the top. When gluing the bridge using a caul underneath the, top the top will level
Chapter 13
Fitting the pegs and machine heads
Page 5
Fitting the pegs and machine heads should be done now if you haven’t already done this. Pegs should be
fitted allowing for a little extra fitting after the French polish is done. The reason for this is a little polish
or oil may get into the peg hole and cause binding etc. Now is a good time to check that the peg head is
finished properly.
Chapter 13
Correcting defects and filling
Page 6
Correcting defects and filling is now required. In the case of very small defects in glue joints a little hot
hide glue will fill these in. Burning in with shellac stick of the correct color will fill larger errors. Shellac
stick, spirit lamps and palate knives can be purchased from woodworking supply houses. Large defects
may require the careful inlay of matching wood. When burning in heat the tool and clean it on a block of
wood, then hold it over the spirit lamp flame until the shellac melts. Then with a flowing motion, apply
the melted shellac into the defect. Wet your finger with saliva and quickly press the shellac into the void.
Repeat, if necessary. Level the repair with a sharp chisel,scraper and sandpaper. Now damp off and
filling if necessary is next. Filling - French polish can be used to fill the grain but fillers are usually used
to save time. Plaster of Paris tinted to match is a traditional filler, first put a couple of coats of thin
French polish on the wood. Next mix the plaster of Paris to the consistency of cream apply the plaster of
Paris to the back of the guitar. Let it set for a little and wipe across the grain to level additional
applications may be required. When the entire guitar is done take a little boiled linseed oil on a cloth and
apply to the guitar. This takes the whiteness out of the Plaster of Paris. Rub with a soft cloth, sand lightly
and you are ready to start polishing. Caution! Do not use a rag that has been used on tinted woods on
light colored woods, use a new rag. Many ancient guitars will show the plaster of Paris filler. Pumice is
put on the surface to be French polished and with the fad and shellac start working the pumice into the
pours. A pounce bag is often used but filling can be done without. Use flour grade or fine pumice.

Robert Ruck has recommended Elmers, Carpenters Interior Wood Filler tinting as necessary.

Chapter 14
French Polishing
Page 1. A fixture to hold the guitar while French polishing

Page 2. To give stability, to the guitar while French polishing
Chapter 14
A fixture to hold the guitar while French polishing
Page 1

A fixture to hold the guitar while French polishing will make things easier. Due to the awkward nature
of holding the guitar while French polishing I invented this omni directional guitar holding fixture. After
French polishing since 1957 I thought it was time to make things easier. As you can see the guitar can be

rotated without the hands having to touch the surface. The top, sides ,heel and peg head can be polished
and all that remains after removal from the fixture is part of the neck. This fixture can also be used for
rubbing out other finishes and while doing repairs.

Chapter 14
To give stability, to the guitar while French polishing
Page 2
To give stability, to the guitar while French polishing a 11/2” x 11/2 “ piece of soft wood about 12” long
with cloth tied to the end to act as a cushion should be made. This support when needed is held in the
sound hole. The beer is to give strength to the French polisher.
Chapter 15
Bridge Making
Page 1. Locate the position of the bridge.

Page 2. Fit Bridge to the top.
Page 3. Create the curve to fit the domeing of the top.
Page 4. Layout the cuts to be made on the bridge blank.
Page 5. Cut the slot for the saddle
Page 6. Make a fixture for holding the bridge
Page 7. Another view of the bridge holding fixture.
Page 8. Drilling the string holes.
Page 9. Facing the tie block.
Page 10. A bridge locating fixture .
Page 11. View of bridge locating fixture in use.
Page 12. Tools used to glue a bridge.
Page 13. Clamps in use.
Page 14. Another method of glueing the bridge.
Page 15. A simple wrap of twine and wedges inserted to apply pressure.
Chapter 15
Locate the position of the bridge.
Page 1
Locate the position of the bridge, using a straight edge establish the center of the bridge on the top. The
center of the bridge is controlled by the center of the fingerboard. Mark the center of the fingerboard at
the nut and the bottom of the fingerboard at the sound hole. Now take the straight edge and mark the
center of the bridge at the point of the bridge saddle on the top. Make this mark lightly. Now with your
bridge template lightly mark the area of the bridge. Remember to move, the template towards the
fingerboard so that the bridge saddle point meets the saddle point of your scale template. Mark the
corners of the template lightly.
Chapter 15
Fit Bridge to the top.
Page 2
Fit Bridge to the top. The bridge should fit the top without forceing it to conform to the domeing of the
top. To force the fit will stress the top and inhibit sound production. I prefer to fit each bridge
individually to insure a good joint and a top that if free to vibrate. Bridge materials commonly used are
ebony or rosewood, rosewood being the most common type used for classical and flamenco guitars. My
preference for the angle of the grain of the bridge is vertical or slightly angled. Cut the bridge blank to
the size given in the plans and ½” or more in thickness, the extra thickness allows for fitting to the top.
Put a piece of paper on the top and scribe the arc on the bridge on both sides
Chapter 15
Create the curve to fit the domeing of the top.
Page 3
Using a draw shave,rasp and cabinet scraper create the curve to fit the domeing of the top. Now tape a
piece of 120 sandpaper to the top and at the location of the bridge, place the curved bridge blank and
sand gently with short strokes in the direction of the fingerboard. Do until you have a good fit.
Chapter 15
Layout the cuts to be made on the bridge blank.
Page 4
Layout the cuts to be made on the bridge blank from your bridge template. Remove the wood from the
wings of the bridge first, leave a little extra for the final rasping and sanding.
Chapter 15
Cut the slot for the saddle
Page 5
Using the saw you made for the neck side joint cut the slot for the saddle and for the low area where the
strings come out.
Chapter 15
Make a fixture for holding the bridge
Page 6
Now make a fixture for holding the bridge while shaping as in image. Rasp the contours and bevels of
the bridge. Plane down the tie block finish the string to saddle area etc.
Chapter 15
Another view of the bridge holding fixture.
Page 7
Another view of the bridge holding fixture.
Chapter 15
Drilling the string holes.
Page 8
Drilling the string holes, make yourself a curved block to fit the bottom of the bridge to use for clamping
the bridge while drilling. Before drilling the holes check to see if you have sufficient margins on the
fingerboard. It is possible to have accidentally made the fingerboard a little narrow. If this is the case
alter the string spacing at the bridge. When you are satisfied that your string spacing is correct mark the
location of the string holes using the center of the bridge for location. Now drill the hole with a number
50 drill. Mark the depth you have to drill with masking tape on the drill. Run a low E string through the
holes to clean them out and if they string does not enter smoothly remove a little wood, the string must
feed in easily. Sand and clean up and you are ready for the tie block facing.
Chapter 15
Facing the tie block.
Page 9
Facing the tie block, Torres used a thin facing of ivory, possibly piano key ivory. Plane the tie block
level and check its height. Make a caul and face it with cork cut your ivory or bone facing slightly
oversize and glue it on. Trim it up when the glue is dry finish sand and put French polish or other type of
finish on the bridge. Mask the bottom of the bridge, always take care not to get oil or grease on the
bottom of the bridge.
Chapter 15
A bridge locating fixture .
Page 10
A bridge locating fixture is handy for locating bridges, set it to the scale length, the fixture has a saddle
in it which fits into the slot on the bridge. When you have your bridge positioned drill a hole through the
bridge and top at each end of the bridge saddle slot to receive a brad to use in locating the bridge while
glueing. CAUTION do not drill through a fan brace. Bridges tend to slip when glueing. I recommend
that you do something to avoid this. In the beginningI held the bridge for a half hour with my hand
inside the guitar and the other hand pushing on the bridge-SILLY.
Chapter 15
View of bridge locating fixture in use.
Page 11
View of bridge locating fixture in use.
Chapter 15
Tools used to glue a bridge.
Page 12
Tools used to glue a bridge, from left clamp, caul to be used with the clamp method with slots cut to
receive fan braces and curved to fit the bridge curve. The caul is held to the underside of the top with
double stick tape or masking tape in a circle. Below left an inspection light, notice the shield which
avoids burning the finish in case it is accidentally left in the guitar too long. To the right is an inspection
mirror.
Chapter 15
Clamps in use.
Page 13
Clamps in use, with caul under the top. Clean away all glue squeeze out with a warm damp cloth and
clean the string holes with a guitar string. Another way to keep the glue out of the string holes is to force
a little paste wax in them DO NOT get wax on the bottom or glue surface of the bridge, glue does not
stick to waxed or oily surfaces. Many of the old guitar makers scratched or roughed up the surface to be
glued a hack saw blade works well.
Chapter 15
Another method of glueing the bridge.
Page 14
Another method of glueing the bridge. This method uses no caul just the pressure of the twine and
wedges.
Chapter 15
A simple wrap of twine and wedges inserted to apply pressure.
Page 15
A simple wrap of twine and wedges inserted to apply pressure. The top will rebound after the glue is dry
and the pressure is removed.
Chapter 16
Peg Making
Page 1. Pegs and tools.

Page 2. Turn to round the turning square.
Page 3. Roughing in.
Page 4. Cutting in the limits of the peg contours.
Page 5. Peg turning.
Page 6. Roughing gauge.
Page 7. Peg blank close to finish dimension .
Page 8. Turning fixture.
Page 9. Peg cheek shape.
Page 10. Peg shaper.
Page 11. Finished Pegs.
Chapter 16
Pegs and tools
Page 1
Pegs and tools,the ability to make tools gives you the ability to replicate various styles of pegs or to
create your own style.In the image is a series of finished guitar and lute pegs the longer being lute pegs,
at the left of the finished pegs are peg blanks with saw cuts to mark different contours. Below the pegs
are half templates used to guage the peg dimension while turning,above and to the left of the pegs is a
cradle for drilling peg holes,next a peg shaper,peg shapers are easy to make,it is like a pencil sharpener
ream the holes and cut away to give an area to mount the cutter and enough room for chip clearance.to
the right is a reamer most hardware stores carry these reamers,take a propane torch and heat the end red
and put in wood ashes. This will soften the end and allow you to drill the reamer for mounting the
handle. Above the reamer handle is a holder for the peg usefull for sawing and conturing the cheeks of
the peg,below it is a handle to fit over the peg head for turning the peg while reaming. To the right is a
peg holder for french polishing the peg head do not polish the shaft,next is a tool for length cutting and
hole drilling. Ebony and rosewood are traditional woods for pegs,but many woods serve the purpose
well a few are apple, pear,boxwood a good wood but hard on turning tools,hard maple,cherry almost any
hard,hardwood can be used.
Chapter 16
Turn to round the turning square
Page 2
Turn to round the turning square leaving it slightly oversize,check the wood for flaws. Note the turning
blanks and rough turned peg blanks the ends being sawn to receive the turning spur drive center, sawing
avoids splitting from tailstock pressure and stops slippage.
Chapter 16
Roughing in
Page 3
Roughing in
Chapter 16
Cutting in the limits of the peg contours
Page 4
Cutting in the limits of the peg contours use saw cuts,pencil to mark contour breaks and check with half
guages.
Chapter 16
Peg turning.
Page 5
Pip turning,the pip at the end of the peg is easily turned by making a block for the face plate of your
lathe,drilling and reaming a hole to fit the peg. Take an old chisel and grind a half contour of the peg,
hold the tool slightly below center and scrape the pip to skape.KEEP THE STEADY REST CLOSE TO
THE PIP.
Chapter 16
Roughing gauge.
Page 6

Roughing gauge used to speed up the roughing process and provide more accurate blanks. The gauge is made about 1/8th inch over finish peg dimension. Make the gauge as in the
image with a pivot point to allow the gauge to fall past the peg when the blank is proper size. Make the gauge of hard wood with two pivot points using 4 penny finish nails. The
gauge must fall freely and have little side play. When the blank is the proper diameter the gauge will fall and you are done. A gauge will save you time, when making many pegs as I
am doing in this image. I will be turning more than 60 pegs.

Chapter 16
Peg blank close to finish dimension.
Page 7

Peg blank close to finish dimension notice the gap between a finished peg and the slightly oversized peg roughing gauge.

Chapter 16
Turning fixture.
Page 8

Turning fixture used against a pattern of plexiglass to create a duplicator. One can turn pegs freehand but this fixture will give better accuracy when turning many pegs. The fixture
slides laterally on the ways of the lathe and has a wooden sliding tool rest that is operated by hand as is the sideways motion. Oil the ways and sliding tool rest dovetail. The cutting
tool is made of an old metal lathe bit, ground as in the image to cut in both directions. The metal stylus that rides on the template can be made of iron and the tip polished, in order to
not wear the plexiglass. Any shape peg for guitars,lutes, violins etc. can be turned using this system as well as many other things. The cutting bit is whetted on the top and given a
slight whetting on the side. Hard maple is a good wood to make this fixture out of.

Chapter 16
Peg cheek shape.
Page 9

Peg cheek shape is easily done, first make a holder for the peg as in the image then trim off excess wood on a band saw or with a coping saw. To finish the peg cheek use a drum
type, sanding tool found in most hardware stores. If you have a shop vacuum tie the hose to the drill press table to remove dust. If you don't have a drill press a hand held electric drill
mounted on a table will also work. If you have neither use a rasp to form the cheek.

Chapter 16
Peg shaper.
Page 10

Peg shaper is a tool that one can purchase or make. If you decide to make one get a reamer first and fit the blade to it. For the cutter an old power hacksaw blade makes a good blade.
Close to the head of the peg in the image is a wooden wrench to make turning and fitting the peg easier. Rub a little paraffin on the peg to ease cutting, blow out shavings often. Go
to the store and buy a cheap plastic hand pencil sharpener to understand the principle of the peg shaper.

Chapter 16
Finished pegs.
Page 11

Finished pegs and a mug of peg maker lubricant. The pegs are now ready to be fitted in the guitar. Put some varnish or french polish on the area where the hand contacts the peg. Put
no varnish on the friction area of the peg as the varnish will cause sticking.

Chapter 17
Tornavoz Making
Page 1. Tornavoz tools and materials.

Page 2. To turn the edge.
Page 3. Image of amplification table.
Chapter 17
Tornavoz tools and materials
Page 1
Tornavoz tools and materials.At the bottom of the image is a template of the blank used to make the
tornavoz,hooks for installing and removing the tornavoz,top and side view of a finished tornavoz,anvil,a
board with a hole used to form the lip, burnisher and hammer tools to help turn the edge. Before turning
the edge or lip ,layout and drill the insertion and removal holes these holes are slightly above the center
of the tornavoz towards the lip,next cut the design. The tool to cut the design is easily made by taking a
worn slim taper saw filers three corner file,putting it in a vise with a length the length of your index
finger projecting,PUTTING ON SAFETY GLASSES,and hitting the projection with a hammer breaking
off a piece the length of your index finger. Grind one end smooth and grind a small chisel on the other
end. To cut the design,layout the design,get a block of hardwood,place the little chisel on the area to be
cut if it is a triangle you will make three cuts. Make other chisels with different contours to vary the
pattern.
Chapter 17
To turn the edge.
Page 2
-- To turn the edge scribe a mark the width of the edge and proceed to hammer lightly around the edge
using anvil,burnisher and hammer,work slowley forming the edge and the curvature until it is slightly
more than the guitars sound hole the ends should overlap. To install the tornavoz in the recess inside of
the sound hole,squeeze and roll it in ,to remove insert removal hooks into holes in tornavoz and twist
out. The removal hooks are made of heavy metal coat hanger material and the thickness of the tornavoz
brass is about the same thickness of a matchbook cover. Practice making a tornavoz from scrap sheet
aluminum left over from making your templates. Use brass to be historically correct as aluminum is a
new metal and not in use in the time of Torres. The tornavoz is an early attempt at improving the
projection of the guitar. The original tornavozes were installed permanently and could not be removed,
having small notched posts ito which the lower edge of the tornavoz sat this method gives you the option
of removal.
Chapter 17
Image of amplification table.
Page 3
Recently while discussing the tornavoz and its role in guitar amplification/sound modification with
Nimido Sintiago, who was born in the town of Utuado,Puerto Rico. He recalled the use by guitarists of
an amplification table upon which the guitarists rested their guitars on, to increase the volume. The table
was of special construction four feet wide by six feet long and six inches deep,with a hollow interior, the
top was high enough to rest the players guitars on while standing up. The table had four,four inch
diameter holes near each corner. Mr. Nimido Santiago observed the table in use circa 1940 it was in a
hall used for dances that his parents and others took their children to. One performer that he remembered
was Pinin Maldonado who composed many songs one of which was "Bajo las Sombras de un Pino.
Torres Full Size Plans

Six string and 11 string.
Recieving the plans over the internet

The first method is over the internet, but that entails a little work on your part. Because of
inconsistancies in printers and printing software, you will need to print out the plans and
CHECK THE SCALE ON EACH PLAN SECTION AGAINST A GOOD RULER
and adjust if neccessary. There is a little more work with this method, but the price is right.
Click on the numbers below to download the plan images. Each is a roughly 140K jpeg file.
See Roy Bargers printing instructions for help in getting the images to the correct size. Roy also
gratiously rescanned the plans with a ruler in each image the make printing the plans at the right size
easier!
Head 1, 2
Top 1, 2, 3, 4
Back 1, 2, 3, 4
Sides 1, 2
Scale 1, 2
Neck 1, 2, 3, 4
Heelblock 1
Tornavoz 1, 2
Recieving the plans through the mail

The second method is to e-mail Neil Ostberg and have him send out a set of plans to you at cost. (see
below)
Plan price
http://mysite.verizon.net/nostberg/plans/index.htm (1 de 2)27/12/2006 21:16:22

$15.00 U.S.A. and Canada, and
$18.00 all other countries.
This price includes a 6 mile trip to town, mailing container, postal fee, print shop fee and a dollar and
twenty five cents for a glass of beer. ( Huber Bock or Regal Brau most likely)
With either method of getting the plans, you will need to do the following.Glue the images to sheet
aluminum using Elmers stick glue or similar glue. Take a sharp knife and follow all lines pressing hard.
Next drill holes at dark round spots and cut small triangles in the peg head with slots for machine heads
and drill holes for peg locations 1/8" holes are sufficient. Cut out and file templates to conform to the
plan, drill ¼"holes to hang templates in the shop. The purpose of these holes and triangles is their use in
the layout of the various parts.
Cutaway for Torres guitar not historicaly correct.
I recieved an e-mail from Baba Gorikhan requesting help in making a cutaway for a guitar he is
building. I made full scale model of the heel area and a plan of the cutaway. The heel not a solid block
as this would cause excessive weight and decrease the air space inside the guitar.
0,1,2,3,4,5,6,7,8
Baba Gorikhan has requested a cutaway with with curves and has named it a "Venetian" cutaway.
Venetian is a good name and will be used.
The test bend is made in a hurry with scrap wood and is not the correct height. I bent it with a very hot
iron and you will notice burned areas. Use proper heat as described on the site and soak the sides. The
side has to be made longer for the Venetian cutaway.
Cutaway view
Cutawayplans
Test bend
http://mysite.verizon.net/nostberg/plans/index.htm (2 de 2)27/12/2006 21:16:22

http://mysite.verizon.net/nostberg/plans/roy_printing.html
Printing Suggestions For Images
A complete printing guide would offer printing for all brands and models of printers, along with
instructions for the many software programs utilized; this is not a practical consideration here, so in the
creation of these images, it is assumed the end-user to have a good general knowledge of the printer and
program to be utilized for the printing of these images. Therefore, these images are offered without
technical support; the individual is entirely responsible for his own accuracy and attention to scale.
If one is anticipating making a guitar, then this indicates the maker has the confidence to tackle one
problem at a time, apply his/her logic and resources to the each individual task to be done, as they come
to it. Most any printer is up to the task of printing an adjusted image size, one will have to experiment
with each image to get it to scale. A ruler is copied onto each image to allow one to determine when they
have a printed image close enough with which to make patterns. Most any copy machine could be used
to make any final adjustments, up or down, by using the percentage function. Make an extra copy to glue
onto the pattern material, if desired. Alternatively, tracing paper is useful.
In testing, these images printed a TO-SCALE (well within 1 mm) using a HP PSC 750. Clicking on an
image, and using MS Photo Editor (packaged with MS Office) to view the image, the following
additional adjustments were necessary to get correct scale: Select from the menu: FILE, then PRINT...
this will bring up the print adjustment screen. In the size box, it has to read "100%" in both the Width
and Height boxes. If it is not already so, you WILL have to un-check the ALLOW DISTORTION and
FIT TO PAGE options to keep the scale correct, in other words, to keep the program to resizing
automatically to fit your page setup. For the Legal sized images, you will have to additionally go into
properties and select Legal Size for the paper size, and insert legal sized paper into your printer. I
suggest printing in draft or FAST mode, much faster, and less ink is required.
Most image viewing/printing programs have most of the different functions mentioned above, possibly
under similar terminology. The key to making your own to-scale patterns is patience! Make notes for
your settings as you go, to remember the settings for the next image, and don't forget to adjust to the
correct size paper when needed, my most frequent mistake!.
Neil has put much work in producing these plans, and at his own expense, making them available to
anyone who wishes them, requiring nothing in return except maybe copy and postage expenses…
sometimes not even this.
Having drawn the plans, paid for professional copying of prints, and made a trip into the city to send
them out to folks who have requested them, it is sad to say that a few have neglected even to thank him
for his trouble.
If you find these images useful, drop him an email and thank him for his desire to make available free
patterns for this wonderful historic instrument. It may even encourage him to make a few more historic
instrument plans available, free to all, in the future.
Roy Barger
http://mysite.verizon.net/nostberg/plans/roy_printing.html27/12/2006 21:16:45
http://mysite.verizon.net/nostberg/plans/head_1.jpg
http://mysite.verizon.net/nostberg/plans/head_1.jpg (1 de 2)27/12/2006 21:17:30





http://mysite.verizon.net/nostberg/plans/top_1.jpg
http://mysite.verizon.net/nostberg/plans/top_1.jpg (1 de 2)27/12/2006 21:18:06


http://mysite.verizon.net/nostberg/plans/top_2_legal.jpg
http://mysite.verizon.net/nostberg/plans/top_2_legal.jpg (1 de 2)27/12/2006 21:18:28






http://mysite.verizon.net/nostberg/plans/back_1.jpg
http://mysite.verizon.net/nostberg/plans/back_1.jpg (1 de 2)27/12/2006 21:19:06








http://mysite.verizon.net/nostberg/plans/sides_1_legal.jpg
http://mysite.verizon.net/nostberg/plans/sides_1_legal.jpg (1 de 3)27/12/2006 21:22:06






http://mysite.verizon.net/nostberg/plans/scale_1_legal.jpg
http://mysite.verizon.net/nostberg/plans/scale_1_legal.jpg (1 de 3)27/12/2006 21:22:33



http://mysite.verizon.net/nostberg/plans/scale_2.jpg
http://mysite.verizon.net/nostberg/plans/scale_2.jpg (1 de 3)27/12/2006 21:22:44



http://mysite.verizon.net/nostberg/plans/neck_1.jpg
http://mysite.verizon.net/nostberg/plans/neck_1.jpg (1 de 2)27/12/2006 21:23:13






http://mysite.verizon.net/nostberg/plans/torresnecksections.jpg
http://mysite.verizon.net/nostberg/plans/torresnecksections.jpg (1 de 2)27/12/2006 21:23:57

http://mysite.verizon.net/nostberg/plans/torresnecksections.jpg
http://mysite.verizon.net/nostberg/plans/torresnecksections.jpg (2 de 2)27/12/2006 21:23:57

http://mysite.verizon.net/nostberg/plans/heel_block.jpg
http://mysite.verizon.net/nostberg/plans/heel_block.jpg (1 de 3)27/12/2006 21:24:15



http://mysite.verizon.net/nostberg/plans/torn_1.jpg
http://mysite.verizon.net/nostberg/plans/torn_1.jpg (1 de 3)27/12/2006 21:24:40





http://mysite.verizon.net/nostberg/plans/cutaway.jpg
http://mysite.verizon.net/nostberg/plans/cutaway.jpg27/12/2006 21:26:43
http://mysite.verizon.net/nostberg/plans/cutaway1.jpg
http://mysite.verizon.net/nostberg/plans/cutaway1.jpg27/12/2006 21:27:04
http://mysite.verizon.net/nostberg/plans/cutaway_1.jpg
http://mysite.verizon.net/nostberg/plans/cutaway_1.jpg27/12/2006 21:28:55
http://mysite.verizon.net/nostberg/plans/cutaway_plans.jpg
http://mysite.verizon.net/nostberg/plans/cutaway_plans.jpg27/12/2006 21:29:12
http://mysite.verizon.net/nostberg/plans/cutaway_testbend.jpg
http://mysite.verizon.net/nostberg/plans/cutaway_testbend.jpg27/12/2006 21:29:25
Chapter 19
1800's style case making
Page 1
Guitar case making in an antique style.

The reason for delving into antique style case making is to give replicators of period instruments the ability
to present their replicas in a period case.
Two original cases from the Ostberg collection are pictured in the Martin Guitars an ilustrated celebration of
Americas premier guitarmaker by Washburn and Johnston. On page 6 is a photo of an original Martin case.
One of the original cases is an original Martin case. This original case was given to me by Robert Ruck after
the death of a mutual friend and guitarmaker Thomas Johmston. Johmston found this guitar case in an
antique/curio shop in Door County, Wisconsin near where he lived. The owner of the shop removed the
insides of the case put shelves in it for displaying of curios. In the future I hope to restore this case to
original.
I have purpously did not put case making in sequence to encourage more intense study of the sequence.
The starting point is the dimensions of the guitar requiring the case. Add about ½ “ over the size of the guitar
to give the inside dimensions of the case. The angles of the case joints are determined by the body size of the
guitar, hence no dimensions are given. The wood used is American basswood or linden from Wisconsin,
poplar was also used. The originals are basswood also.
The replica case pictured, is painted black as are the originals,The brass hinges and handle are fabricated, at
the site shop with Torres peg head crest. In the image of the handle you will see broken wiggle engraving on
the brass,this represents Robert Ruck and the year 2005 who is the recipient of the guitar and case.
Commercially produced draw catches were used rather than replicate the hook type of the original case for
safety reasons. The site case replica does, not have a lock as did the originals, reason being, often when the
key is lost case is damaged in opening. The replica case lining is valvet with velvet rope in the corner. A
commercially produced Krylon spray flat black was used with french polish over. All was done with hide
glue.
http://mysite.verizon.net/nostberg/chapter19/index.htm (1 de 16)27/12/2006 21:30:37
















Chapter 20
Finished Torres and other replica guitars from the site shop. (including video and sound
files)
A front view of a finished Ostberg Torres guitar cherry back and sides
A side view of a finished Ostberg Torres guitar cherry back and sides
A back view of a finished Ostberg Torres guitar cherry back and sides
Peter Baime of Milwaukee, Wisconsin is an accomplished flamenco guitarist playing flamenco guitar
since the 1960’s. In the year 2000 he won the prestigous Emmey Award for original composition.
Among his many other acievments include scores for Public Broadcasting one of which is music for the
documentation of the life and art of Cyrl Colnick one of Americas greatest blacksmiths who emigrated
to America and made his home in Milwaukee,Wisconsin U.S.A. This documentary was produced circa
the year 2000. Peter studied with Diego and Paco del Gastor in Spain in the years 1971 and 1977. Peter
maintains an active schedule on the music staff of Cardinal Stritch College, University of Wisconsin,
preforming in the upper midwest primatiarly in Chicago,Illinois and in addition teaches flamenco guitar
privatly. He is a rescource not only as a player and teacher but as an historian of the art form.
Peter Baime playing Santos Replica spruce top cherry back and sides 7/2005
Peter Baime playing Torres Replica spruce top Brazilian Rosewood bace and sides 7/2005
http://mysite.verizon.net/nostberg/chapter20/index.htm27/12/2006 21:31:01
http://mysite.verizon.net/nostberg/chapter20/guitar_front.jpg
http://mysite.verizon.net/nostberg/chapter20/guitar_front.jpg (1 de 2)27/12/2006 21:31:30

http://mysite.verizon.net/nostberg/chapter20/guitar_front.jpg
http://mysite.verizon.net/nostberg/chapter20/guitar_front.jpg (2 de 2)27/12/2006 21:31:30

http://mysite.verizon.net/nostberg/chapter20/guitar_side.jpg
http://mysite.verizon.net/nostberg/chapter20/guitar_side.jpg (1 de 2)27/12/2006 21:31:59

http://mysite.verizon.net/nostberg/chapter20/guitar_side.jpg
http://mysite.verizon.net/nostberg/chapter20/guitar_side.jpg (2 de 2)27/12/2006 21:31:59

http://mysite.verizon.net/nostberg/chapter20/guitar_back.jpg
http://mysite.verizon.net/nostberg/chapter20/guitar_back.jpg (1 de 2)27/12/2006 21:32:14

http://mysite.verizon.net/nostberg/chapter20/guitar_back.jpg
http://mysite.verizon.net/nostberg/chapter20/guitar_back.jpg (2 de 2)27/12/2006 21:32:14

Chapter 20a
1888 torres photographed by Robert Ruck
http://mysite.verizon.net/nostberg/chapter21/ruck_torres.htm (1 de 29)27/12/2006 21:34:16





























Chapter 22
Historic European guitars from the Östberg collection.
Johann Georg Staufer in Wien,1805 - 1815. six string terz guitar.
Credit must first be given Naris Charachanyawong of Bangkok,Thailand for correcting the incorrect date
of 1799 for this terz guitar by Staufer. This guitar was given to me about 1972 by decendants of the first
owner of this guitar Miss Tauber.. Francisca Tauber von Taubershlag,was an opera singer who settled in
Milwaukee,Wis. her father was "court artist in Bavaria under Ludwig 1862 --..Richard Wagner studied
with him. She knew Franz List through a friend.
The guitar was in the attic of a carriage house in Milwaukee,Wisconsin which was later used as a garage.
The date 1805 - 1815 puts Staufer at the age of 27 or older when he built this guitar. It has six strings and
mechanical tuners. There is no date on the label nor signature on label or in the interior. The bridge area
from the interior shows no plugged holes for five course and I feel all is original.
The images show mechanical tuners of iron with no apparent plating possibly they were browned or
blued, six old gut and copper brass and steel strings the three wound strings are magnetic demonstrating a
magnetic core,there is a copper winding at the end and brass with residue of a silver wash or plating on
brass string windings.
The face of the guitar has been stained. Usually this is done to conceal stains or use dirt on the original
unfinished face. The top , braces, interior lining is of picea abies/excelsia. This spruce is commonly called
German spruce. Forest products laboratory in Madison ,Wisconsin said that abies and excelsia are the
same species.The sides are Circassian walnut with interior spruce lining. All braces are spruce. The neck
appears to be of beech ebonized. The top bridge ornament is of walnut also with toothing plane marks
visible, possibly for visual effect. Two dowels/pins at each end of the bridge have been installed to stop
the bridge from coming off. This repair is very old. Mother of pearl or clam shell diamond shaped inlays
are used for decoration. Delicate banding with white and black purfling. Finish appears to be thin french
polish. No signs of refinishing.















Johann Georg Staufer 1799 original string ends closeup and dimensions.
Beginning with the bass E.
E = .046 Outside diameter.,internal wire .021, string wrap .018 O.D.,copper with silver plate.,short iron
wrap .023.
A = .040 O.D.,internal wire .018,string wrap .012 copper with silver plate.,short copper wrap .023 at pin
end.
D = .024 O.D.,internal wire .013,string wrap .005 copper with silver plate,string wrap over internal loop
wrap.
G = Gut. .039 to .043.
B = Gut. .029 to 031.
E = Missing.
Scale or string length of Johann Georg Staufer guitar is,
22-1/8th inches or 562mm.
Nut to 12th fret is 11-1/64" or279mm.

Shrinkage of the wood of the top and neck has of course affected these measurments over the last 200+
years. The softer spruce of the top will shrink at a different rate than the beechwood of the neck and the
walnut of the fingerboard.
Xrays of the internal structure of a circa 1805 - 1815 Johann Georg Staufer
of Vienna guitar.
Credit for these Xrays must be given to Dr.Robert Schwartz who is also a good classical guitarist for
facilitating the taking of these Xrays in the radiology lab at Advance Health Care 3003 W.Good Hope
Road,Milwaukee,Wisconsin,U.S.A. Credit must also must go to the skilled Radiologist Herb Zimmers
and Xray Technologist Linda Roden for working their magic to show the details of construction of this
guitar.
Since this guitar was given to me in the early 1970's I have pondered details of the peghead joint. Now it
is easily understood. There is, as shown on the Xrays a normal joint as used by C.F.Martin on his guitars
made upon coming to America in 1833.. This joint was not visible due to a secondary facing put on the
back of the peghead which conceals this.
When viewing the body from the face view the spruce lining on the sides appears angled. This is caused
by the Xray lens. Herb Zimmers told me that the center of the Zray is not distorted but the outer edges are.
I think of this as looking directly into a bowl the center being the focal point and the sides angled.
The interior of the back and sides are lined with picea abeis or German spruce. The top is also picea abeis.
The exterior of the back, sides and bridge is circassian walnut. The neck is of ebonized beech wood.
Internal braces picea abeis. The inlays are mother of pearl. The frets are silver. German silver now used
for frets was invented circa 1828.
Recently Naris Charaschanyawong informed me that the date for this guitar by J.G.Staufer falls in the
range of the years 1805 to 1815. I agree with him and feel the 1799 putchase date told to me by those that
geve me the guitar is incorrect. Often oral tradition is inacurate as to specifics,dates etc.
Please note at the neck the light lines at the glue join of the peghead and also the light area where the bone
nut is. Hide glue and bone show in this case as light opposed to the metal frets.
Click on the images for a larger version.






Chapter 23
LUTE FRETS TO TIE.
Start below where the fret should be, the taper of the neck will make it tighter. Make the first loops,pull the ends very tight,make the first part of the square knot,pull very tight,make the second part of the square Knot
and pull very tight. Cut the ends leaving about 4mm + take a small hot soldering iron and melt a bulb at the end of the gut. This method is also used for fiddle tail guts. Tennis raquet suppliers sell gut. use the thickest
diameter closest to the nut. Old nylon guitar strings can be used also,put a spot of epoxy or glue on the knot of the nylon strings.


http://mysite.verizon.net/nostberg/gallery/laundree.jpg
http://mysite.verizon.net/nostberg/gallery/laundree.jpg27/12/2006 21:40:14
http://mysite.verizon.net/nostberg/gallery/ukulele.jpg
http://mysite.verizon.net/nostberg/gallery/ukulele.jpg (1 de 3)27/12/2006 21:40:35



http://mysite.verizon.net/nostberg/gallery/otto1.jpg
http://mysite.verizon.net/nostberg/gallery/otto1.jpg (1 de 2)27/12/2006 21:40:58

http://mysite.verizon.net/nostberg/gallery/otto1.jpg
http://mysite.verizon.net/nostberg/gallery/otto1.jpg (2 de 2)27/12/2006 21:40:58

http://mysite.verizon.net/nostberg/gallery/neumann.html
http://mysite.verizon.net/nostberg/gallery/neumann.html (1 de 3)27/12/2006 21:41:18



(EBook LIUTERIA) Costruzione in The Style Antonio Torres Replicating La Suprema PDF

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

(EBook LIUTERIA) Costruzione in The Style Antonio Torres Replicating La Suprema PDF

Uploaded by

Copyright:

Available Formats

Classical Guitar Construction in the style Antonio Torres replicating La Suprema 1864 with tornavoz and plans by an American

This page is a resource for those intrested in learning to build

Henrick Jansson Building Guitars at Ostberg's Shop

http://mysite.verizon.net/nostberg/ (1 de 3)27/12/2006 15:16:19

11. Banding and Purfeling.

18. Torres Full Size Plans

19. 1800's style case making

21. 1888 Torres photographed by Richard Brune

22. Historic European guitars from the Östberg collection.

23. Lute Making.

Neal Pritchette has put up audio clips, video to come.

Link to Other Silly Stuff Page.

Torres Replics built by William J. Londree 2005

http://mysite.verizon.net/nostberg/ (2 de 3)27/12/2006 15:16:19

Uklele with cutaway by Dale Thomas of Hawaii

Checkout Otto Mikkelsen's handmade guitar.

Checkout Dennis Neumann's handmade guitar.

Link o Japanese plans page

Akihiro Yamaguchi's classical period guitar music site

Send guitar related questions and comments to:

http://mysite.verizon.net/nostberg/ (3 de 3)27/12/2006 15:16:19

Henrik Jansson Building Guitars at Ostberg's Shop

http://mysite.verizon.net/nostberg/henrik/hendrik_index.html (1 de 11)28/12/2006 11:19:38

Pic 1 Neil – “ take a look at all that shit in there”

http://mysite.verizon.net/nostberg/henrik/hendrik_index.html (2 de 11)28/12/2006 11:19:38

http://mysite.verizon.net/nostberg/henrik/hendrik_index.html (3 de 11)28/12/2006 11:19:38

Pic 3 Using my new plane on the shooting board. Thanks chuck!

http://mysite.verizon.net/nostberg/henrik/hendrik_index.html (4 de 11)28/12/2006 11:19:38

Pic 4 Bending the sides.

http://mysite.verizon.net/nostberg/henrik/hendrik_index.html (5 de 11)28/12/2006 11:19:38

Pic 5 After the 3rd attempt

http://mysite.verizon.net/nostberg/henrik/hendrik_index.html (6 de 11)28/12/2006 11:19:38

Pic 6 Using weights

http://mysite.verizon.net/nostberg/henrik/hendrik_index.html (7 de 11)28/12/2006 11:19:38

Pic 7 I turned my own pegs

http://mysite.verizon.net/nostberg/henrik/hendrik_index.html (8 de 11)28/12/2006 11:19:38

Pic 8 Fret work

http://mysite.verizon.net/nostberg/henrik/hendrik_index.html (9 de 11)28/12/2006 11:19:38

See a 15 second 1 mb movie of Henrik French polishing one of the guitars.

http://mysite.verizon.net/nostberg/henrik/hendrik_index.html (10 de 11)28/12/2006 11:19:38

http://mysite.verizon.net/nostberg/henrik/hendrik_index.html (11 de 11)28/12/2006 11:19:38

http://mysite.verizon.net/nostberg/introduction/introduction.htm (1 de 2)27/12/2006 15:17:14

of the publication is educational. Read la guitarira espanola--the Spanish guitar - by

http://mysite.verizon.net/nostberg/introduction/introduction.htm (2 de 2)27/12/2006 15:17:14

Return to Classical Guitar Construction Home Page

Page 1. Plane irons and chisels to sharpen.

Page 1. Sharpening plane irons and chisels

http://mysite.verizon.net/nostberg/chapter0/chisels/step1.htm (1 de 2)27/12/2006 15:18:03

http://mysite.verizon.net/nostberg/chapter0/chisels/step1.htm (2 de 2)27/12/2006 15:18:03

http://mysite.verizon.net/nostberg/chapter0/chisels/step2.htm (1 de 2)27/12/2006 15:18:24

http://mysite.verizon.net/nostberg/chapter0/chisels/step2.htm (2 de 2)27/12/2006 15:18:24

http://mysite.verizon.net/nostberg/chapter0/chisels/step3.htm (1 de 2)27/12/2006 15:18:54

http://mysite.verizon.net/nostberg/chapter0/chisels/step3.htm (2 de 2)27/12/2006 15:18:54

http://mysite.verizon.net/nostberg/chapter0/chisels/step4.htm (1 de 2)27/12/2006 15:19:32

http://mysite.verizon.net/nostberg/chapter0/chisels/step4.htm (2 de 2)27/12/2006 15:19:32

http://mysite.verizon.net/nostberg/chapter0/saws/step1.htm (1 de 2)27/12/2006 15:20:22

http://mysite.verizon.net/nostberg/chapter0/saws/step1.htm (2 de 2)27/12/2006 15:20:22

http://mysite.verizon.net/nostberg/chapter0/saws/step2.htm (1 de 2)27/12/2006 15:20:57

http://mysite.verizon.net/nostberg/chapter0/saws/step2.htm (2 de 2)27/12/2006 15:20:57

http://mysite.verizon.net/nostberg/chapter0/saws/step3.htm (1 de 2)27/12/2006 15:21:54

http://mysite.verizon.net/nostberg/chapter0/saws/step3.htm (2 de 2)27/12/2006 15:21:54

http://mysite.verizon.net/nostberg/chapter0/saws/step4.htm (1 de 2)27/12/2006 15:22:26

http://mysite.verizon.net/nostberg/chapter0/saws/step4.htm (2 de 2)27/12/2006 15:22:26