Norman Blake style 000

Allen · Post by **Allen** » Fri Mar 13, 2009 7:19 pm

That's right Jim. It's all the way in for the lowest action I can get right now. I'm assuming if the instrument goes anywhere else than the tropics in the wet season, the top is going to flatten out, and I'll have heaps of room to raise the action as the dome comes out of the top. Just simply give the screw a turn to the right or left. I added a label inside the guitar with a diagram to let potential owners know how to do this.

It was built with a 25 foot radius, but is more like 12 right now. You know what it's like living where we do.

Hippety Hop · Post by **Hippety Hop** » Fri Mar 13, 2009 8:15 pm

Allen, I was looking at the rosette when I wondered about the downcut bit. It looks a bit like pixels, but I suppose spruce does that.

When I was a young skinny hippie I had a Norton Commando 750. Rode it to Cairns in 1970, and camped at Holloway's Beach. My hair was down to my bum, and the Qld police didn't like me one bit. One of my exes burned my photos after I left her.

That adjustable neck's a marvellous invention. You're far more than an average guitar builder, man.

Cheers Hip.

Runn3r · Post by **Runn3r** » Fri Mar 13, 2009 8:50 pm

that is just about the best birdseye i have ever seen

beautiful guitar Allen

Allen · Post by **Allen** » Fri Mar 13, 2009 9:26 pm

There is just a little bit of chipping on the rosette. Really more noticeable in the photo than in person, but yet one more thing to work on. I'm looking forward to the day when I can build a guitar without having to fix something along the way, and have something without any flaws, or "features". I think the more you build, the more critical you become of you own work.

And I've got 2 more sets of that very same maple. Will be saving it for something special though. Along with some very nice Adirondack Spruce that I think will really compliment it.

DarwinStrings · Post by **DarwinStrings** » Sat Mar 14, 2009 10:13 am

Have been looking at the adjustable neck thread Allen so I have a couple more questions. As the distance between the adjusting screw and the hinge is almost the length of the heel and given the grain orientation of the heel are you worried that a blow to the neck may crack the heel? Also have you noticed any less sustain compared to a glued neck or a bolt on that gives a more solid wood to wood connection?

Jim

Allen · Post by **Allen** » Sat Mar 14, 2009 4:12 pm

Worried....I guess I'd be worried about any sharp blow to any neck. I've got a 20 x 20 mm tenon as part of the neck so there is a fair bit of meat hidden inside.

All the guitars that I've built with an adjustable neck have every bit of sustain as those that I've gone with something more conventional. I use 12 mm bronze inserts imbedded into the neck for the set screws to bear against. (the screws that are used to adjust yaw).

At the Playmakers Conference, Harry Flieshman was talking about his adjustable neck, and said that when he used the metal inserts he noticed no difference at all to the sound of a conventional neck. I can only assume that he tried some without and did notice a difference.

Greg Smallman uses an adjustable neck on his guitars, though a different design. His neck bears against an ebony strip. Certainly not loss of tone in his instruments.

DarwinStrings · Post by **DarwinStrings** » Sat Mar 14, 2009 8:39 pm

Ok sounds good. The lack of bearing against the body or block is what has always made me scared of the idea but will now have a re-think, even though I'm very happy with the Leo Fender style its not really a player adjustment more a repairman adjustment even though its a easy adjustment.

I once was repairing a headstock that was missing a piece. I hadused all my small clamps on other things and had to use a great big 300mm Richa F clamp, I didn't have to take the strings off and gave it a play with the oversized clamp on the headstock. It seemed to sound better so when the glue dried I kept taking the clamp on and off to make sure I wasn't imagining a difference. The guitar sustained much better with the clamp. Not very practical but it made me think about neck mass and it effect on the instrument.

Jim

ozziebluesman · Post by **ozziebluesman** » Sat Mar 14, 2009 9:24 pm

G'day Allen,

One very fine looking guitar there mate! The inlay is special! Thanks for posting the pics.

Jim, I have had the opportunity to have a close look and play of Allen's guitars with the adjustable neck. Some time ago he made a trip down to see me in Townsville and brought with him four of his hand made guitars. IMO I couldn't pick any difference in sustain from the standard neck joint guitars to his adjustable neck one's. They all had excellent tone but the Australian Cedar topped guitar stood out from the rest IMO. Beautiful, warm full tone.

Cheers

Alan

Kim · Post by **Kim** » Sun Mar 15, 2009 12:31 am

Outstanding work as always Allen, the guitar is just beautiful, the inlay quite exceptional. Well done mate, thanks for sharing.

Cheers

Kim

Bob Connor · Post by **Bob Connor** » Sun Mar 15, 2009 8:13 am

Very classy Allen.

I know it's a little early but what are the differences in sound you can discern from giving it the "Norman Blake" treatment?

Allen · Post by **Allen** » Sun Mar 15, 2009 9:10 am

I'd say that volume and bottom end are the first noticeable differences. Wether these are attributed to the brace pattern, or scalloping (all the others were parabolic) I've got no idea.

Bob Connor · Post by **Bob Connor** » Sun Mar 15, 2009 9:29 am

I reckon it's bit of both Allen.

We've been using forward shifting on all of the 0 models we build and I'm sure that is the reason for the nice bottom end they have. Even Harry Flieshmann was surprised with the bass response of that Ziricote 0 that I had at Playmakers.

I think that the essence of building 000/0M's is to build a little extra into the bottom end because they are going to have top end inherently, because of their shape and size.

The identical 0M's we built a few years back differed in that the scalloped braces had more bottom end than the tapered bracing. Tha's probably more to do with the fact I've had more experience with scalloped as opposed to tapered. I know Hesh has no problem getting low end response from his instruments and they are all "parabolically braced" nowadays.

Taffy Evans · Post by **Taffy Evans** » Tue Mar 17, 2009 9:21 pm

Terrific guitar Allen, very high class work with a nice ballance of every thing. the inlays look real classy.

I know what your talking about when you say about building an instrument that does not need some reworking or correction. I often think the same thing, and I suppose if I built each guitar the same way every time this might happen, but then I might lose the challenge.

I read once that "the measure of a true craftsman is the skill he uses in hiding mistakes".

PHANTOM · Post by **PHANTOM** » Tue Mar 17, 2009 10:07 pm

hey there mate been trying to spend more time building and less time on the computer so i just saw the finished guitar it looks great. If it sounds half as good as it looks it must be awsome. Well done

Hesh1956 · Post by **Hesh1956** » Thu Mar 19, 2009 10:14 am

Allen my friend your latest is just absolutely stunning M8!!!! WOW!!!!

Nice job as always Allen!

Hesh1956 · Post by **Hesh1956** » Thu Mar 19, 2009 10:16 am

Kim my friend this picture:

Kind of reminds me of my bunny eared neck rest.....

Alfred J · Post by **Alfred J** » Sun Mar 22, 2009 3:03 am

Allen, its bloody awesome. Truly inspiring work.

A couple of questions.
What type of graver did you use? Stewmac has 3 types: a general purpose type, one for lettering / lining, and one for curves and fine lines. Did you buy one of those?

The peghead veneer looks uniformly black. Did you stain it somehow? (impossible with wood inlay I as far as I know. )

Allen · Post by **Allen** » Sun Mar 22, 2009 7:11 am

The graver is the Onglette one from Stew Mac. I'd read through Grit Laskin's book several times for inspiration, as to get up enough confidence to tackle this. He says its the only graver that he uses. So if you've seen any of his work, you'll know that there is no point in buying the other types.

The peg head veneer is some jet black Ebony. No stain. I suppose if you had stain the wood, you could try and do this before you did the inlay, but I think by the time you sanded back, that the results wouldn't be perfect.

I've also heard of some using 3 mm thick vulcanized Fish Paper for the veneer instead of Ebony. Jet black and probably less expensive but the trick is finding a source for it.

Hippety Hop · Post by **Hippety Hop** » Sun Mar 22, 2009 1:23 pm

Just repaired a couple of 1930's ukes for a mate. Both had ebony fretboards, and when it gets that old, apparently all it wants to do is crumble into dust.

Cam · Post by **Cam** » Tue May 05, 2009 8:01 pm

very nice inlay indeed, what did you use to cut the shell?

nice timbers your using also

Allen · Post by **Allen** » Wed May 06, 2009 5:21 am

Jewelers saw, good light, my reading glasses, and a lot of patience.

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Norman Blake style 000

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