Making the Archtop’s top-plate

Here’s the latest video! In this one, I run through the process of making the top-plate for Archtop #4. I’m using some fantastic Sitka spruce for this one, fine grain and dead on the quarter.

In parallel to working on the top-plate, I’ve been making the tailpiece. The tailpiece is from the same piece of Macassar ebony as the head overlay; so a nice match.

Whenever I use a tailpiece jack-socket, I like to fit the tailpiece once the top has been glued to the rim and before the back goes on. This way the tail block can be supported whilst drilling the jack's 12mm hole and you don’t get the drill bursting out of the back surface. It also means that the top’s overhang is trimmed at the this point too.

Beginning of the end

For various reasons that I shan’t bore you with, progress in the ‘shop has been a bit slow recently. However, I’m finally managing to crack-on with the finish on the archtop. This one is being French polished and you can see how the finish really pops the grain.

For me, French polishing is a slow process so it’s going to be a good few weeks before archtop #3 is complete and ready for sale.

Bindings and purflings

All the work on the archtop’s bindings and purflings has been completed and here are some photos for you. You know about the rope around the top plate. 

The bindings are maple from the same board as the neck and around the back and sides runs a single dark green line.

 Must say that I’m very happy- all that fettling, well worth the effort!

Archtop progress

I’ve been having a bit of difficulty taking some good photos lately; don’t know why but I can’t seem to do the wood justice. So just to keep up-to-date, here's the best I can do. The completed rim-

I’ve made up the neck blank and you can see that I’ve used Brazilian rosewood for the head overlay. The inlay is from black pearl; I like its subtlety; in some lights, it disappears into the wood! The neck itself is maple with a rosewood core, you can see that I’ve started to carve the volute.

I cut up a billet to use for the fretboard and was really surprised by the bright rose-pink colours (is that why, along with its sweet, sickly smell, someone named it “rosewood”?). 

Quite a spectacular pieces of wood, although the colours will tone down over time, I’ll have to decide whether it’s a step too far!

Using up my precious stuff (wisely) OR archtop mandolin #3

Whilst we’re waiting for the Tru-oil to harden on Dave’s e-mando, no good twiddling thumbs, on with the next archtop!
Over the years, I’ve built up quite a collection of exotic tonewood, and I feel a responsibility to use it in the best way that I can. As the pieces aren’t particularly large, I need to be imaginative. So, for my next archtop mandolin, I’m going to incorporate into its construction, as much Brazilian rosewood, from my collection, as I can.
One aspect that will be a bit unusual is that although I’m using the Rio for the sides, its carved back will be made from figured maple.
I’m going to do another series of videos, but try to cover different aspects of the build, not covered in the previous two build video series.
So here’s the first dealing with bending the sides and making the rim.

Holes...........

I’ve been slowly making progress with the next archtop mandolin. One thing that helps enormously to get the top plate to its correct thickness, is drawing a grid on the wood and then accurately mapping out the dimensions. You can then see exactly where you want to remove more material; I did this 3 or 4 times until I was 100% happy with it.

With the top plate at its correct thickness, the sound holes can be cut-out (I can’t really call them f holes, can I?). I spent a long time, on the last archtop, working out how to set-up a Dremel to cut the holes; that time invested paid off as it took a fraction of the time to produce these ones. Although you could cut them with a fret saw, I need their surfaces to be perfect in order to be able to neatly bind them.

I feel quite strongly that the holes should be bound; it protects the softwood edges from accidental damage, strengthens and helps to lessen any risk of cracking at the holes, stops moisture escaping via the end grain and looks jolly nice too!

The black veneer had to be bent using a soldering iron as a small improvised bending iron.