Everything you have said about the use of lamination is absolutley correct. Laminating timber will be much stronger especially with modern adhesives. As you indicate it saves a lot of timbers and avoids unnecessary waste. Laminations done corectly can look very attractive. I been laminating timbers for over 50yrs. Keep up this great work.
Totally agree, not only IS better for the instrument, it offers more opportunities for the Luthier's art. Added bonus of special woods conservation... and is a win win in all aspects. Thank you. Kevin: your guitars are gorgeous.
Thank you for you compliment regarding my guitars. I have 35 of them in my collection and over 100 of them around the United States, Canada and Scotland. www.ladueguitars.com
Incredibly beautiful looking instruments. Laminated necks certainly make sense from a stability point of view, with the wonderful aesthetics being an added bonus.
ya for sure laminated is the way to go especially now with lumber prices soaring sky high i'm just now getting into scarf joint necks thanks so much for your sharing your time and wisdom
Thank you kindly! I have 35 of them own my own collection and many more in most states in the lower 48. You can see more photos of guitars and the shop at www.ladueguitars.com
I totaly agree with you in every aspect! I came to the same conclusions as a builder: all my necks are laminated and I've experimented with a large variety of woods. Very beautyful instruments you make!
Great video!!! I 100% agree with you, we have to stop wasting such a valuable resource or one day we won't have any species to make guitars. I have always laminated my necks, usually three pieces but sometimes with added veneers or strips in contrasting colours. Keep up the great work!!!
Thank you for the video! I totally agree with you for laminated necks.Hard to make but most stable of all.I have never made a single piece neck.Greetings from Greece!
Sir you produce works of Art ,your work is BEAUTIFUL and perfect, THANK you so much for posting your message.. keep up the inspired work. Good luck for Ireland.
Excellent presentation. Loved it. Gained a lot of knowledge about necks. Thank you so very much for sharing your experiences and expertise on forming necks and what to look for too. Cheers. Colin
I appreciate that! In further videos, I fully intend to stir thinking among viewers by questioning tradition, promoting pragmatism and frugality, and to enjoy building great guitars without being a subject of the kings and a cash cow to the suppliers.
I've only finished two guitars. My third failed, I'm working on my 4th and 5th: a 5 string bass and a 6 string baritone. All are solid body electrics. Only my first wasn't laminated, thats because I knew it was a prototype I could use to learn on, but the headstock was still scarf jointed. I love the look of stripey necks, they just look right to my eyes. Added to that the stability and ecological bonuses, it's just worth doing. P.S. That ash is gorgeous!
I have a handmade laminated recurved bow it amazing....... I have always pondered laminated Necks....it makes sense what you are saying....That small jumbo in curly White Ash.... exquisite... thanks 😎 Sir....
Lovely guitars. I have a Lowden with a laminated neck and it plays great. It also looks really nice with a couple of ebony strips between the mahogany.
Well said Kevin. The resources are now getting very expensive and somewhat rare. I have an old Hofner Senator archtop. The neck is a four piece laminate with an added floating neck extension from the 14th fret onwards. The neck is very stable and the instrument holds it's tuning extremely well. Good video and thanks from the Sunny Coast in Queensland Australia.
Your perspective on wood is refreshing. It gives me ideas to test and play with as a beginner Luther. Thanks. Instill want to try Mosquite for a finger bord lol.
Thanks for your response. I highly recommend that you try anything and everything that come to mind and enjoy building you guitars. There's also the added benefit of saving a few dollars on materials.
I took an X series Martin guitar and disassembled it. As you know, the back and sides are made of Formica. The top is solid spruce. I rebuilt this guitar with solid mahogany back and sides and used the same neck. These necks are Stratabond which is stronger than mahogany necks. I reassembled this guitar with the solid back, sides, top and neck. It turned out sounding and playing great.
Kevin, new subscriber here, longtime woodworker and guitar player, do my own instrument maintenance, finishing, repairs and mods. Really enjoyed your show today, looking forward to more!
Laminating a classical guitar neck is exactly the same process as for a steel string. The headpiece will be thicker and the heel may be prepared for Spanish Method construction or for a Dovetail, as used by Ignacio Fleta.
No matter what kind of wood, two or more pieces, alternating the grain will be much stronger, stiffer and more stable than any single piece of wood could ever dream of being.
One reason mahogany became the traditional ineck wood is its great stability . lamination may be necessary with some non traditional woods that tend move around more with changes in humidity .
I'm 75 now and have been a muscian my entire life. Although some places I performed thought it was a hobby, it was my profession. I am amazed to find so much "common sense" in one place. I with all my might wish he could give just a little of this intelligence ........ to our government! Great video and best wisheds to him.
Thankyou for all the valuable information ,I was gifted by family 60 year old Black walnut ,the boards are rough and about 1 1/4 in thick so now I have many possibilities and can make the neck from it ,,the guitar will be a telecaster style and I was thinking of just doing the body in walnut but now I may do the whole guitar but to reduce wieght I may just do walnut laminate instead of solid walnut body ill use a lighter wood and thin laminate on top and back
Often wunderedhow that’s done! Looking at my German made Hoffner (HF-15), and see that wedge cut. Laminated wood gets a bad rap. As long as it’s all wood (no plastic or composite) I think it’s fine, certainly for the neck, and even the sides.
Already a subscriber....I love the way you eschew "traditional luthier tonewood materials" for more ergonomic materials....my favourite guitar is an all maple electro-acoustic and my favourite ukuleles are a flamed maple, plain maple et al. I have a walnut ukulele and I'd love to listen to or play an all walnut acoustic guitar but, I'll dream about that one ! Thanks for sharing your thoughts and erudition.
Thank you. Personally, Iv'e grown tired of instrument builders talking in a jargon more like one would expect from lawyers and suppliers that want you to believe that there's a difference between a "luthier's" phillips screwdriver and any other.
I agree with laminating, I have started making necks with at least 5 lamination and from hardwood gathered from pallets they turn out great and are very stable indeed,
Thanks for your comment. I admire the way you acquire your material. I takes patience, tenacity, and a good eye to glean good materials from those sources. I wish for your benefit, somebody made Brazilian Rosewood Pallets.
I agree wholeheartedly! Well-said. The wasting of wood is a very big pet peeve tyo me, not only on guitar but a lot coming from some of the RUclipsrs out there! It's highly annoying!
You make so much sense........but I've tried, but I have no machinery - all by hand - & I just can't get the accuracy of the join right. Very frustrating!!
I just found your channel watch the video of some of your guitars that you made You do exceptional work.. I will be watching a whole bunch more!! I'm a guitar player but I also do some luthier work too , I'm also a stair guy too I do the fish staircases and goosenecks and all that and been faster than wood for a long time I like all the jigs and stuff you got...
I didn't hear mentioned directly, but would it be safe to say that laminated necks would be less prone to twisting also? Considering all the different pieces of wood and grain are working off each other in different directions and not letting other ones just move as a single piece would 🤔
Yes, any laminated member, guitar neck or structural beam, is less prone to physical in most any direction. I think most importantly, eliminated neck is not subject to reactions for climactic change as any single piece neck would be. Thank you for your question.
I've been thinking about the same thing. I have black walnut and maple! To save even more wood I'm working with a birds beak scarf joint....not so bad with a cnc router
Interesting. Does the scarf joint and stacked heel contribute to the stability of the neck from changes in humidity? I am only two builds into my journey but made three blanks out of a mixture of 3/4 and 1/8" thick flat sawn pieces of wood purchased locally. The thicker pieces are mahogany and the thinner are maple and walnut. I also did not make a stacked heel or a scarf joint; I cut the outlines with extra mass for a volute. I worked slowly so there was enough time for the wood to acclimatize but twisting was still an issue. It also became apparent that I'd used a soft piece of maple that served as the mortise which then crumbled when I drilled it to accommodate brass inserts. Because of this, I'm going to attempt to make a non laminated neck for my next build, but also do a stacked heel and scarf joint. PS: the resulting laminate necks were also much heavier in relation to the weight of their guitars' bodies.
The scarf joints and the glued heel block, do not contribute to stability and have nothing to do with shrinkage and swelling. With respect to crumbling Maple, that shouldn't occur if you're drilling the correct size hole for the brass inset, although installing them in end grain is objectively more difficult. I am further confused, are you installing the inserts in the neck tenon or the mortise in the heel block and if so, why?
@@thepragmaticluthier On my first I was following the Natelson/Campiano book which had barrel bolts inserted through the side of the tenon. When I over tightened one of the bolts it cracked the maple on either side of the central walnut ply along a grain line, just as if I were bending a piece of curly maple for binding. I ended having a luthier friend cut away at the tenon (so that it's almost like a butt joint with half a tenon) and he drilled a hole to insert a threaded insert into the heel. I've since switched over the threaded insert directly into the tenon and the addition of nomex washers between the bolt head and neck block seems to be able to absorb any shock to the neck. Regarding the neck shaft however, does the lamination contribute to or interfere with the operation of the truss rod because of the varying stiffness of the different species of wood?
I agree with everything you say. All my bought guitars have single piece necks, with the exception of one handmade. That one, like almost all the ones I myself have made, has stack heel and scarf head (the exceptions have been lap guitars with less of a headstock angle). There is certainly waste with single piece necks, but I respectfully suggest it is less than you might think if you have a good sized billet, because you can get several necks out of a billet by stacking them offset and cutting them on the band saw. The 'waste' wood can be put to other use. Having said that, there is still SOME waste and it is also timewasting doing what I suggest (it's OK if you are Martin - there's just a guy doing that all day long - and doing it extremely well - I don't especially want to turn my retirement hobby into factory work). The other thing that you might have mentioned more is the fail rate with one piece necks, where the short grain at the headstock is the weakest point. Step forward Gibson LPs, but I've also seen some acoustic fails with the one piece approach. The use of a volute is really a tinkertoy remedy. I also note you put the scarf up in the headstock, not down in the neck. I don't have any evidence, but logic dictates this is the stronger option, and one I use myself. Never seen one of that style fail. Never seen the other style fail either, actually, but have seen shrinkage at the joint leaving a line under the finish. I just discovered your channel and I love the style of it, which is perfect for my level of skill (advanced beginner??) and presented with great gentleness.
Really good video!👍 I do like laminated necks as a builder. I've built 2 electric guitar necks from alder with maple strips glued inside the neck. Really stiff results even those have long Explorer style necks. Greetings from Finland! 🇫🇮
I stopped using mahogany for necks in the 80's and switched to mostly Maple or black walnut. The decision came about after I started building archtops and saw how stable the maple necks were. In fact I have one guitar that I built 32 years ago because it came back to me. The neck is still perfectly straight and has never had a truss rod adjustment. I also agree that laminating necks not only makes for more strength but if you are careful you can insert a 1/4" center strip low enough to put in a truss rod without routing for it.
If one is willing to laminate the heel, it's possible to mitigate a lot of the typical waste of a one-piece neck by orienting two neck blanks so they "interlock", ying-yang style. However, I do really like two-piece necks--being able to get a quartersawn neck from flatsawn stock is really great.
I watched several of your videos. Very interested in your methods and explanation of locally sourced tone woods. Love the look of your guitars. However, for us to fully judge and understand if the arguments hold, could you play or have someone play and compare the tone woods you demonstrate? A sound test is key.
It would be difficult and time consuming to play each one of my guitars for a video, although I'm giving it a lot of thought. More importantly, however, your remark: " for us to fully judge and understand if the arguments hold," causes me to conclude that you missed the broader points of the video; those being that these materials and this style of neck construction if in fact, more efficient, mechanically, and a laminated neck is stronger than a one piece neck. These are not my arguments. They are quantifiable physical principles. Nevertheless, one person could use both styles of neck and create terrific guitars while another could do the same and create highly organized firewood. My presentation was to provoke thought and encourage the use laminated necks, not despair the use of solid necks and demand that anyone should rush to laminated ones.
Do you know the model number of the clamp you are using to stack the heels? Never see that one form pony or Jourgenson. Been a guitar maker for 30 years and we think very much in the same way. Just found you and am devouring the videos!!! Thanks! EDIT: I just saw the model number! I commented to soon. all the complements still stand.
Sorry about that. I record with my iPhone, not the greatest, and I'm my own videographer and editor. It's hard to be on both sides of the camera, but I'll try to even out the ride. I wonder if I should offer dramamine tablets? Thanks for your comment.
Do you have a video that shows the process of stacking the heel and keeping the laminate stripe straight? I find it tricky because the heel hasn't been carved yet. I line up both ends but after I carve it, the stripe may be slightly off between the stacked layers.
Couldn't agree more Kevin. Lam neck are far superior to one piece solid wood necks. Even if as you mentioned they are just two pieces rotated to take advantage of the Q sawn direction. But different color woods add a beauty that's hard to beat.
I don't think anyone makes a clamp like the one in the video, but you could make an even better one with a Pony, or similar brand clamp screw. By replacing the double clamp with a hardwood frame, the clamp screw could be mounted on the frame, configured the same as the jig in the video. Here is a link to the Pony brand clamp screw. I'm sure other, possibly less expensive screws are also available. www.amazon.com/Tools-6709-Heavy-Press-Screw/dp/B001DT3SXS/ref=asc_df_B001DT3SXS/?tag=hyprod-20&linkCode=df0&hvadid=693675560295&hvpos=&hvnetw=g&hvrand=11079447387583705986&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=1023209&hvtargid=pla-590217113718&psc=1&mcid=6211164389123071859bcfeb73d7e983&tag=hyprod-20&linkCode=df0&hvadid=693675560295&hvpos=&hvnetw=g&hvrand=11079447387583705986&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=1023209&hvtargid=pla-590217113718&psc=1
I just got a guitar in my shop from one of your students who made the Guitar when he was 16 years old. He says his guitar won the class award. His name is Marty.
I love your environmentally, friendly approach at the building guitar necks, BTW. And of course, the whole concept of laminate necks actually being superior, structurally, anyway.
Just from a sustainability standpoint, laminate necks allow for the resource to be used more effectively. And for those of us who are hobbyists, it saves on material cost.
Donner has a DO series (discontinued?) 3 piece with center non wood HPL. It’s scarfed at the head and base too. Even though they a a very low end manufacturer the guitar is great, excellent fretwork, And from what I can tell very stable. It’s so weird that it’s a more forward thinking design than Just about every other traditional guitar maker.
One thing i think people worry about is glue letting them down. From what i have seen when something glued w. a good glue comes apart it is the material that has failed not the glue.
It is true that correct technique must be applied when gluing up anything and it's also true that a properly made glue joint (surface grain to surface grain) is stronger than the wood. Fortunately, it's quite eddy to do. Thank you for your comment.
hey, so I got some strips of mahogany, and Im considering lamiting them, to get the pieces to be thicker. So this is laminating the other way. I never see anyone doing lamination like this, so I wonder whether you'd say it might come with a problem. To be clear, you'd see the lamination looking at the neck from the side rather than from the bottom
If you work that idea, you may come up with some very interesting aesthetics. From an engineering standpoint, I think it's as valid as my more conventional method. I think you should try it.
I spray Mohawk Instrument Lacquer for high gloss finishes and Mohawk Instrument Sealer for satin finishes. I use a Fuji HVLP spray rig and I have a pretty good spray booth.
Funny story, I wanted to make a one piece neck BUT I would have to glue/laminate the maple I get from Home Depot to make the initial block😊... mine as well do it your way ha ha ha...less glue ups...thx for the video
I started at that angle on recommendation from the first instruction I had in guitar making and prefer it over the the frequently use 11 degrees. It provides good down-pressure on the nut and I like the aesthetics.
I agree that resonant necks are less efficient, but depending on the player, there could be a huge benefit to the way they interact with the instrument. A resonant neck can add a whole other sensory dimension to playing music
1.Usually, a one-piece neck sounds better. 2. A laminated neck is no less prone to warping than a single piece neck (consider the wood we use and the grain orientation. 3. I build laminated necks.
Roy Courtnall, author of “Making Master Guitars” finds that walnut necks work best for his classical guitars now. His necks have always been scarf joint head stocks. The Leonardo project in Europe has looked at challenging the traditional woods for classical guitars.
I've challenged the traditional woods for classical guitars for 30 years and have done them in sycamore, White Ash, Walnut, Cherry. It's all about density, not specie.
Do you include any other reinforcement? Will the laminated neck stay straight without a truss bar? I'm about to build my first piece and am gathering expertise. Thank you!
One piece necks made a lot of sense when glue was really low-performance. Modern glues can be stronger than wood, and a stacked heel or a scarf joint is no longer a weak spot. I think that's the reason.
Glue has never been an issue. Laminate framework for pianos has been assembled with hide glue long before aliphatic resin or even casein glue existed. On a shear draw (the engineering standard for measuring glue strength) even hide glue will withstand stress greater that the wood. The trick of course, is proper mating surfaces and correct working technique.
I agree with you Kevin. I've even made joints with diluted Elmer's white school glue that decades later are still practically unbreakable without tearing wood away from one side or the other. The quality of the joinery is the key for sure. Most folks don't realize that the cellulose molecules and fiber structure of wood are 'glued' together naturally to begin with.
@@thepragmaticluthier Can I ask about the volute carved below the nut on some old Martins? I was told it was to give more glueing area at a scarf joint. Is that not so?
A laminated neck is always preferable because of it's strength. The old solid necks tend to move quite a bit more as the seasons change and it's always been my experience that the laminated neck is superior. I also believe that high end Ibanez necks are the best. I've owned a Carvin in the past and that neck was laminated, thru-neck. Today I would tend to gravitate toward a laminated neck with carbon fiber rods on either side of the truss rod. I actually think Parker guitars which are all carbon fiber are the most stable I've ever seen. You'd be amazed by how much a neck can move through the year and what that does to frets, the fingerboard, inlays, the nut and the neck to body joint. I completely agree with this man, maybe not for the same reasons. I do think that people have gone to the extremes with woods. As long as a tree is planted for one that is harvested, the Earth will get along just fine. She's been dealing with humans for a very long time and she can handle things quite nicely.
@@thepragmaticluthier Of course, Sir. Vibrating strings contact the top via the Bridge. I don't think any of us could afford a "Perfect Top" but it's crucial to the tone of that guitar. I would say more so when talking about a chambered body or a semi-hollow.
Totally agree with everything. I just don't like Ash, even for a Tele. I'm weird that way. Actually I'm weird in a lot of ways. Like a lot of woodworkers.
Your weirdness is very welcome here! Many think I'm weird also, because I WON'T use solid necks and I WON'T build guitars with Mahogany, Rosewood, or any of their equatorial counterparts.
@@thepragmaticluthier He sawed the neck billet into three pieces, longways of course, then he took the center piece turned it over and reversed the ends. Clamped and glued it up. He said that added lots of strength and offset any warping tendencies. That was before carbon fiber rods had been invented
Makes sense now due to limited resources, but my preferences are for a solid ( as much as possible) guitar. Not a laminated. Some guitars are craftsman's master pieces. I prefer solid wood when possible. It looks much better. I know it's just my choice. But I am the one whom will be buying and playing for a very long time.
What you're saying's absolutely valid. Every building and player should feel free to create and use the instruments that suit them. I wish to engender thought, but not legislate change. Thanks for your response.
@@thepragmaticluthier Great work, not only for guitar building but educating new luthiers about scarce hardwood management. Just to note about alternate materials. In the 70's, I built a SG out of Plexiglass. Tone a bit dead, but WOW was it heavy. Cut the neck down from and old 12 string. Used cheap KAY guitar pickups from the local Woolworth. Sorry if I'm dating myself. But it was way fun! Everyone should try to make an instrument if they are playing. They will become very fond memories as we age.
Nice work, Kevin. I agree with your ideas on questioning traditional methodologies in acoustic guitar construction, and breaking from them when the conclusion is that they’re only being employed for “The Sake of Tradition.” I choose to embrace both approaches to neck construction…depending on the circumstances surrounding each individual build (ie…woods being used, client’s requirements, aesthetic vision, etc.) In my opinion, there are definitive benefits found within both methods…and embracing one path doesn’t require the rejection of the other. My “one-piece” necks are made from large beams of 16/4 Honduran Mahogany that is quarter-sawn, very old and very stable. In my artist’s heart, it would be an injustice to use these beams in any other way because they are perfect for this application, as well as difficult to acquire. My “built-necks” are constructed from flat-sawn boards, with center strips of contrasting woods…and even very thin veneers in certain applications. Both methods are appropriate for the wood being used, and both are effectively stable and strong. No matter which method is being employed though, I believe that a front & rear plate on a headstock are wise structural additions, as well as being aesthetically pleasing. Thanks for this video, and your thoughts/ideas on the subject of neck construction techniques. And a big thanks for including video of your beautiful guitars 🎶❤️🎶 -joel
I could never get my head around instrument reviewers marking down instruments with scarf joint headstocks and stacked heels. They know not of what they speak and spread much silliness. The only laminated necks I have are two mahogany through neck Washburn basses. Out of eleven necks here only one is not "mahogany". It's also the only bolt on. A maple neck on a Yamaha bass. Everything else, ukes, acoustic and electric basses, steel string, classicals (including the one I built), Les Paul etc. have set "mahogany" necks. Oh my cello has a maple neck too. Two out of twelve then. 🙂
While I truly know that laminated is way better. I also think that chunky necks will also take a lot more cranking pressure to take out an underbow.. With todays technic of taking the heel and sawing it in half horizontally and carving out the head angle and scarfing halfway up the headstock, your using only half the thickness of a block of wood to make a neck .. and with the grain turned perpendicular on the other half of the heel , it makes it stronger.. And you can get 2 necks out of the same neck you used to get out of one same sized block of wood... But there's no denying that laminated is stronger ... but the amount of wood saved is minimal with laminated nowadays. That said .. I think if I'm building a chunky neck it wont be laminate... but if im building a thin or low oval neck will surely be ...
Laminated necks probably go back as far as making necks for any number of instruments. I don't tout it as something new, just something to consider when making them.
I'll make a few comments from an engineering viewpoint. The act of laminating a neck shaft does not AUTOMATICALLY make it stronger, stiffer or more stable. It is not the laminating process that achieves this by itself, but care in grain orientation, and selection of stiffer species for the centre laminates can certainly help. Most factory built laminated necks are just an aesthetic choice.
@@thepragmaticluthier obviously you understand that and apply best practice to selection of your neck components but unfortunately many think that the act of laminating just automatically adds strength stiffness and stability. I had one builder tell me that laminating his necks made them 5 times stronger
Thanks for the info--hey but don't completely dismiss a one piece neck---if you are making a limited number of guitars and you have some nice pieces in the dimensions ---a one piece neck has a certain ellagane.
Any builder is welcome to make instrument necks in any way they want to. Within my shop and my self imposed perimeters, I dismissed solid piece necks twenty eight years ago.
Your description of the amount of waste produced in making a one-piece neck borders on disinformation. I don't know anyone who makes a one-piece neck the way you demonstrate it early in the video. Every builder I know starts with a neck blank that yields two necks that are nested and produces far less waste than what you showed. Also, it's not a given that the "waste" pieces left over after cutting out two necks from a neck blank are actually waste. They can be used for making a variety of other parts. Otherwise, I salute your openness to using woods other than the traditional ones and your willingness to question standard methods and approaches.
An inlay artist at Martin Guitar told me 10 years ago that Mahogany blanks large enough to get two or three necks are tossed because they don't fit their tooling. There are many manufacturers other than Martin that mass produce these instruments. It does seem pretty logical that independent builders and much smaller shops probably don't, and can't even afford to generate such waste.
I must agree with @django02. I think your argument is completely skewed to substantiate the claim. Every large manufacturer's factory tour I've ever seen (Gibson, Ibanez, Guild, etc...) nests their neck blanks. It only makes economical sense. Plus, it only takes seconds to separate the pieces with a band saw. I took a factory tour of Taylor in the mid '90s and saw them, first hand, doing this. Otherwise, I like your channel a lot. Many salient points.
Martin factory tour from 2010. They clearly are NOT wasting wood, as they can be clearly seen nesting neck blanks from one large billet. As you said at the beginning of the video, "I want to begin by ruffling some feathers". We'll these feathers are duly ruffled. ruclips.net/video/TzD9APh4Amg/видео.html Also, this Gibson factory video from 1967 (I tried posting this earlier, so apologies if it appears again). You can clearly see the billets of wood marked up with the nested necks to get the most out of the piece of wood. Watch from 6:08 - 6:30. ruclips.net/video/3-zOaOYB120/видео.html
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Everything you have said about the use of lamination is absolutley correct. Laminating timber will be much stronger especially with modern adhesives. As you indicate it saves a lot of timbers and avoids unnecessary waste. Laminations done corectly can look very attractive. I been laminating timbers for over 50yrs. Keep up this great work.
Totally agree, not only IS better for the instrument, it offers more opportunities for the Luthier's art.
Added bonus of special woods conservation... and is a win win in all aspects. Thank you.
Kevin: your guitars are gorgeous.
Thank you for you compliment regarding my guitars. I have 35 of them in my collection and over 100 of them around the United States, Canada and Scotland. www.ladueguitars.com
Beautiful work and smart sharing.
Incredibly beautiful looking instruments. Laminated necks certainly make sense from a stability point of view, with the wonderful aesthetics being an added bonus.
Thanks for your compliment. You can see more pictures of guitars and the shop at www.ladueguitars.com
They really are gorgeous guitars!
...Bravo!.......some solid thinking.......(about laminating).
i love that spooky headstock here at the end of the video. lovely instruments!
Gorgeous creations. Such inspired craftsmanship. Thank you for sharing.
I would love to spend a few hours around you and your shop!
I've never made a guitar but can certainly appreciate that craftsmanship
If I happen to be within reach, You are welcome to visit the shop. Town of Triangle, NY
ya for sure laminated is the way to go especially now with lumber prices soaring sky high i'm just now getting into scarf joint necks thanks so much for your sharing your time and wisdom
Wow! Your guitars are works of art! Absolutely love them!
Thank you kindly! I have 35 of them own my own collection and many more in most states in the lower 48. You can see more photos of guitars and the shop at www.ladueguitars.com
I completely agree! Great video. In addition, when done with a scarf joint as you show, there’s no cross grain to break at the neck angle.
I totaly agree with you in every aspect! I came to the same conclusions as a builder: all my necks are laminated and I've experimented with a large variety of woods. Very beautyful instruments you make!
Thank you for your comment and your compliment.
I love your out of the box thinking on woods and breaking the traditions of luthierie.
Great video!!! I 100% agree with you, we have to stop wasting such a valuable resource or one day we won't have any species to make guitars. I have always laminated my necks, usually three pieces but sometimes with added veneers or strips in contrasting colours. Keep up the great work!!!
Thank you for the video! I totally agree with you for laminated necks.Hard to make but most stable of all.I have never made a single piece neck.Greetings from Greece!
Glad it was helpful!
Fascinating. I recall that my 1966 Framus electric 12-string had a laminated neck with many thin strips, and it was bomb-proof.
Sir you produce works of Art ,your work is BEAUTIFUL and perfect, THANK you so much for posting your message.. keep up the inspired work. Good luck for Ireland.
Thank you so much. I have a guitar in Scotland, owned by Joseph Martyn. you can find him on Facebook. If your interested; www.ladueguitars.com
Thanks for showing the jigs you use for neck glue-ups. Very useful information.
You are welcome!
Great info!
Glad you think so!
Excellent presentation. Loved it. Gained a lot of knowledge about necks. Thank you so very much for sharing your experiences and expertise on forming necks and what to look for too. Cheers. Colin
Makes a lot of sense, I have no problem of course as long as it's properly built. Love the different choices of wood combinations.
The skill to properly glue wood together is requisite in laminated necks.
I would love to play one of those guitars. Every one looks amazing.
You can see more pictures of the guitars and the shop at www.laduergitars.com
Totally agree! Bravissimo
Thanks! If you're interested; www.ladueguitars.com
Sweet work, i have a black walnut slab, thank you for the preview on yours.
As a beginner guitar maker (7guitars) I appreciate your down to earth approach to your videos!
I appreciate that! In further videos, I fully intend to stir thinking among viewers by questioning tradition, promoting pragmatism and frugality, and to enjoy building great guitars without being a subject of the kings and a cash cow to the suppliers.
Seems like a very reasonable thing to do... and looks good, too!
I've only finished two guitars. My third failed, I'm working on my 4th and 5th: a 5 string bass and a 6 string baritone. All are solid body electrics.
Only my first wasn't laminated, thats because I knew it was a prototype I could use to learn on, but the headstock was still scarf jointed.
I love the look of stripey necks, they just look right to my eyes. Added to that the stability and ecological bonuses, it's just worth doing.
P.S. That ash is gorgeous!
I have a handmade laminated recurved bow it amazing....... I have always pondered laminated Necks....it makes sense what you are saying....That small jumbo in curly White Ash.... exquisite... thanks 😎 Sir....
Thanks for the compliment about the Ash Jumbo. It's one of my best and it has a killer sound.
My new Martin that has a laminated neck and this thing sounds INCREDIBLE.
Good information!
Lovely guitars. I have a Lowden with a laminated neck and it plays great. It also looks really nice with a couple of ebony strips between the mahogany.
I've been crazy about Lowden guitars since I first saw them some thirty years ago; truly magnificent guitars.
Well said Kevin. The resources are now getting very expensive and somewhat rare. I have an old Hofner Senator archtop. The neck is a four piece laminate with an added floating neck extension from the 14th fret onwards. The neck is very stable and the instrument holds it's tuning extremely well. Good video and thanks from the Sunny Coast in Queensland Australia.
Your perspective on wood is refreshing. It gives me ideas to test and play with as a beginner Luther. Thanks. Instill want to try Mosquite for a finger bord lol.
Thanks for your response. I highly recommend that you try anything and everything that come to mind and enjoy building you guitars. There's also the added benefit of saving a few dollars on materials.
I took an X series Martin guitar and disassembled it. As you know, the back and sides are made of Formica. The top is solid spruce. I rebuilt this guitar with solid mahogany back and sides and used the same neck. These necks are Stratabond which is stronger than mahogany necks. I reassembled this guitar with the solid back, sides, top and neck. It turned out sounding and playing great.
Was it worth so much work?
Kevin, new subscriber here, longtime woodworker and guitar player, do my own instrument maintenance, finishing, repairs and mods. Really enjoyed your show today, looking forward to more!
Thank you. I'm looking forward to creating some thought provoking, feather ruffling, if not controversial videos on the subject in the future.
You and your luthier colleagues wouldn't be fixing broken Gibson headstocks anymore 😅
Great video/argument. You are spot on.
I am in the process of re-watching all your videos.
Amazing. I like that. Please show me on classical guitars being built too. Very impressive. Great job❤
Laminating a classical guitar neck is exactly the same process as for a steel string. The headpiece will be thicker and the heel may be prepared for Spanish Method construction or for a Dovetail, as used by Ignacio Fleta.
Great video!
Thanks for the visit. I hope you will look forward to future videos.
No matter what kind of wood, two or more pieces, alternating the grain will be much stronger, stiffer and more stable than any single piece of wood could ever dream of being.
One reason mahogany became the traditional ineck wood is its great stability . lamination may be necessary with some non traditional woods that tend move around more with changes in humidity .
All good things take time my favourite builds have been walnut and curly maple trim .
I'm 75 now and have been a muscian my entire life. Although some places I performed thought it was a hobby, it was my profession. I am amazed to find so much "common sense" in one place. I with all my might wish he could give just a little of this intelligence ........ to our government! Great video and best wisheds to him.
That was a super like! :)
Thankyou for all the valuable information ,I was gifted by family 60 year old Black walnut ,the boards are rough and about 1 1/4 in thick so now I have many possibilities and can make the neck from it ,,the guitar will be a telecaster style and I was thinking of just doing the body in walnut but now I may do the whole guitar but to reduce wieght I may just do walnut laminate instead of solid walnut body ill use a lighter wood and thin laminate on top and back
Often wunderedhow that’s done! Looking at my German made Hoffner (HF-15), and see that wedge cut. Laminated wood gets a bad rap. As long as it’s all wood (no plastic or composite) I think it’s fine, certainly for the neck, and even the sides.
Already a subscriber....I love the way you eschew "traditional luthier tonewood materials" for more ergonomic materials....my favourite guitar is an all maple electro-acoustic and my favourite ukuleles are a flamed maple, plain maple et al. I have a walnut ukulele and I'd love to listen to or play an all walnut acoustic guitar but, I'll dream about that one ! Thanks for sharing your thoughts and erudition.
Thank you. Personally, Iv'e grown tired of instrument builders talking in a jargon more like one would expect from lawyers and suppliers that want you to believe that there's a difference between a "luthier's" phillips screwdriver and any other.
I agree with laminating, I have started making necks with at least 5 lamination and from hardwood gathered from pallets they turn out great and are very stable indeed,
Thanks for your comment. I admire the way you acquire your material. I takes patience, tenacity, and a good eye to glean good materials from those sources. I wish for your benefit, somebody made Brazilian Rosewood Pallets.
I agree wholeheartedly! Well-said. The wasting of wood is a very big pet peeve tyo me, not only on guitar but a lot coming from some of the RUclipsrs out there! It's highly annoying!
You make so much sense........but I've tried, but I have no machinery - all by hand - & I just can't get the accuracy of the join right. Very frustrating!!
I feel your frustration. If you care to contact me through my website, I may be able to help you with perfecting that joint.
The current higher end Yamahas have five piece necks. It adds stability and longevity. My Ibanez bass neck is panga & purple heart.
I just found your channel watch the video of some of your guitars that you made You do exceptional work.. I will be watching a whole bunch more!! I'm a guitar player but I also do some luthier work too , I'm also a stair guy too I do the fish staircases and goosenecks and all that and been faster than wood for a long time I like all the jigs and stuff you got...
thank you
I didn't hear mentioned directly, but would it be safe to say that laminated necks would be less prone to twisting also? Considering all the different pieces of wood and grain are working off each other in different directions and not letting other ones just move as a single piece would 🤔
Yes, any laminated member, guitar neck or structural beam, is less prone to physical in most any direction. I think most importantly, eliminated neck is not subject to reactions for climactic change as any single piece neck would be. Thank you for your question.
I've been thinking about the same thing. I have black walnut and maple! To save even more wood I'm working with a birds beak scarf joint....not so bad with a cnc router
Interesting. Does the scarf joint and stacked heel contribute to the stability of the neck from changes in humidity?
I am only two builds into my journey but made three blanks out of a mixture of 3/4 and 1/8" thick flat sawn pieces of wood purchased locally. The thicker pieces are mahogany and the thinner are maple and walnut. I also did not make a stacked heel or a scarf joint; I cut the outlines with extra mass for a volute. I worked slowly so there was enough time for the wood to acclimatize but twisting was still an issue. It also became apparent that I'd used a soft piece of maple that served as the mortise which then crumbled when I drilled it to accommodate brass inserts. Because of this, I'm going to attempt to make a non laminated neck for my next build, but also do a stacked heel and scarf joint.
PS: the resulting laminate necks were also much heavier in relation to the weight of their guitars' bodies.
The scarf joints and the glued heel block, do not contribute to stability and have nothing to do with shrinkage and swelling. With respect to crumbling Maple, that shouldn't occur if you're drilling the correct size hole for the brass inset, although installing them in end grain is objectively more difficult. I am further confused, are you installing the inserts in the neck tenon or the mortise in the heel block and if so, why?
@@thepragmaticluthier On my first I was following the Natelson/Campiano book which had barrel bolts inserted through the side of the tenon. When I over tightened one of the bolts it cracked the maple on either side of the central walnut ply along a grain line, just as if I were bending a piece of curly maple for binding. I ended having a luthier friend cut away at the tenon (so that it's almost like a butt joint with half a tenon) and he drilled a hole to insert a threaded insert into the heel. I've since switched over the threaded insert directly into the tenon and the addition of nomex washers between the bolt head and neck block seems to be able to absorb any shock to the neck.
Regarding the neck shaft however, does the lamination contribute to or interfere with the operation of the truss rod because of the varying stiffness of the different species of wood?
I agree with everything you say. All my bought guitars have single piece necks, with the exception of one handmade. That one, like almost all the ones I myself have made, has stack heel and scarf head (the exceptions have been lap guitars with less of a headstock angle). There is certainly waste with single piece necks, but I respectfully suggest it is less than you might think if you have a good sized billet, because you can get several necks out of a billet by stacking them offset and cutting them on the band saw. The 'waste' wood can be put to other use. Having said that, there is still SOME waste and it is also timewasting doing what I suggest (it's OK if you are Martin - there's just a guy doing that all day long - and doing it extremely well - I don't especially want to turn my retirement hobby into factory work). The other thing that you might have mentioned more is the fail rate with one piece necks, where the short grain at the headstock is the weakest point. Step forward Gibson LPs, but I've also seen some acoustic fails with the one piece approach. The use of a volute is really a tinkertoy remedy. I also note you put the scarf up in the headstock, not down in the neck. I don't have any evidence, but logic dictates this is the stronger option, and one I use myself. Never seen one of that style fail. Never seen the other style fail either, actually, but have seen shrinkage at the joint leaving a line under the finish. I just discovered your channel and I love the style of it, which is perfect for my level of skill (advanced beginner??) and presented with great gentleness.
Nice!
Ash---Strong pretty tough to work.
I guess it depends on how old it is also.
Darn good stability.
Really good video!👍 I do like laminated necks as a builder. I've built 2 electric guitar necks from alder with maple strips glued inside the neck. Really stiff results even those have long Explorer style necks. Greetings from Finland! 🇫🇮
Thank you for sharing your experience. Happy building!
I stopped using mahogany for necks in the 80's and switched to mostly Maple or black walnut. The decision came about after I started building archtops and saw how stable the maple necks were. In fact I have one guitar that I built 32 years ago because it came back to me. The neck is still perfectly straight and has never had a truss rod adjustment. I also agree that laminating necks not only makes for more strength but if you are careful you can insert a 1/4" center strip low enough to put in a truss rod without routing for it.
If one is willing to laminate the heel, it's possible to mitigate a lot of the typical waste of a one-piece neck by orienting two neck blanks so they "interlock", ying-yang style. However, I do really like two-piece necks--being able to get a quartersawn neck from flatsawn stock is really great.
I watched several of your videos. Very interested in your methods and explanation of locally sourced tone woods. Love the look of your guitars. However, for us to fully judge and understand if the arguments hold, could you play or have someone play and compare the tone woods you demonstrate? A sound test is key.
It would be difficult and time consuming to play each one of my guitars for a video, although I'm giving it a lot of thought. More importantly, however, your remark: " for us to fully judge and understand if the arguments hold," causes me to conclude that you missed the broader points of the video; those being that these materials and this style of neck construction if in fact, more efficient, mechanically, and a laminated neck is stronger than a one piece neck. These are not my arguments. They are quantifiable physical principles. Nevertheless, one person could use both styles of neck and create terrific guitars while another could do the same and create highly organized firewood. My presentation was to provoke thought and encourage the use laminated necks, not despair the use of solid necks and demand that anyone should rush to laminated ones.
Do you know the model number of the clamp you are using to stack the heels? Never see that one form pony or Jourgenson. Been a guitar maker for 30 years and we think very much in the same way. Just found you and am devouring the videos!!! Thanks! EDIT: I just saw the model number! I commented to soon. all the complements still stand.
Great info, but I was getting seasick the way the camera was moving around. I more steady approach would be better in my view
Sorry about that. I record with my iPhone, not the greatest, and I'm my own videographer and editor. It's hard to be on both sides of the camera, but I'll try to even out the ride. I wonder if I should offer dramamine tablets? Thanks for your comment.
Do you have a video that shows the process of stacking the heel and keeping the laminate stripe straight? I find it tricky because the heel hasn't been carved yet. I line up both ends but after I carve it, the stripe may be slightly off between the stacked layers.
ruclips.net/video/f70_sbtVneo/видео.html
Correct. I make basses, and a laminated neck is more stable, stiff, and uses less wood. I even glue on a piece for a volute. Good vid Sir
And with the added length of a bass neck, that seems very important. Thanks for your comment.
Couldn't agree more Kevin. Lam neck are far superior to one piece solid wood necks. Even if as you mentioned they are just two pieces rotated to take advantage of the Q sawn direction. But different color woods add a beauty that's hard to beat.
It looks like pony 533 double clamps are no longer made. Curious if anyone has found a replacement for the jig at 10:59
I don't think anyone makes a clamp like the one in the video, but you could make an even better one with a Pony, or similar brand clamp screw. By replacing the double clamp with a hardwood frame, the clamp screw could be mounted on the frame, configured the same as the jig in the video. Here is a link to the Pony brand clamp screw. I'm sure other, possibly less expensive screws are also available. www.amazon.com/Tools-6709-Heavy-Press-Screw/dp/B001DT3SXS/ref=asc_df_B001DT3SXS/?tag=hyprod-20&linkCode=df0&hvadid=693675560295&hvpos=&hvnetw=g&hvrand=11079447387583705986&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=1023209&hvtargid=pla-590217113718&psc=1&mcid=6211164389123071859bcfeb73d7e983&tag=hyprod-20&linkCode=df0&hvadid=693675560295&hvpos=&hvnetw=g&hvrand=11079447387583705986&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=1023209&hvtargid=pla-590217113718&psc=1
I just got a guitar in my shop from one of your students who made the Guitar when he was 16 years old. He says his guitar won the class award. His name is Marty.
That guitar was made in 2012. Marty was a very capable student and became friend after graduation.
I love your environmentally, friendly approach at the building guitar necks, BTW. And of course, the whole concept of laminate necks actually being superior, structurally, anyway.
Just from a sustainability standpoint, laminate necks allow for the resource to be used more effectively. And for those of us who are hobbyists, it saves on material cost.
Donner has a DO series (discontinued?) 3 piece with center non wood HPL. It’s scarfed at the head and base too. Even though they a a very low end manufacturer the guitar is great, excellent fretwork, And from what I can tell very stable. It’s so weird that it’s a more forward thinking design than Just about every other traditional guitar maker.
Agree 100%.
One thing i think people worry about is glue letting them down. From what i have seen when something glued w. a good glue comes apart it is the material that has failed not the glue.
It is true that correct technique must be applied when gluing up anything and it's also true that a properly made glue joint (surface grain to surface grain) is stronger than the wood. Fortunately, it's quite eddy to do. Thank you for your comment.
hey, so I got some strips of mahogany, and Im considering lamiting them, to get the pieces to be thicker. So this is laminating the other way. I never see anyone doing lamination like this, so I wonder whether you'd say it might come with a problem.
To be clear, you'd see the lamination looking at the neck from the side rather than from the bottom
If you work that idea, you may come up with some very interesting aesthetics. From an engineering standpoint, I think it's as valid as my more conventional method. I think you should try it.
Im a new builder and have made 2 guitars so far, what type of finish do you do on your personal guitars. They look really good. Thanks
I spray Mohawk Instrument Lacquer for high gloss finishes and Mohawk Instrument Sealer for satin finishes. I use a Fuji HVLP spray rig and I have a pretty good spray booth.
Funny story, I wanted to make a one piece neck BUT I would have to glue/laminate the maple I get from Home Depot to make the initial block😊... mine as well do it your way ha ha ha...less glue ups...thx for the video
You didn't point out that solid necks are inherently weak in the nut area due to the short grain.
Just curious, why 15 degrees on the scarf joint on tne neck?
Thaanks for the video.
I started at that angle on recommendation from the first instruction I had in guitar making and prefer it over the the frequently use 11 degrees. It provides good down-pressure on the nut and I like the aesthetics.
I agree that resonant necks are less efficient, but depending on the player, there could be a huge benefit to the way they interact with the instrument. A resonant neck can add a whole other sensory dimension to playing music
That's why many of us make custom guitars. I my shop, however, I simply will not saw out a one-piece neck.
Do you still need a truss rod with your laminated necks?
Absolutely. The only exception is classical guitars.
1.Usually, a one-piece neck sounds better.
2. A laminated neck is no less prone to warping than a single piece neck (consider the wood we use and the grain orientation.
3. I build laminated necks.
Roy Courtnall, author of “Making Master Guitars” finds that walnut necks work best for his classical guitars now. His necks have always been scarf joint head stocks. The Leonardo project in Europe has looked at challenging the traditional woods for classical guitars.
I've challenged the traditional woods for classical guitars for 30 years and have done them in sycamore, White Ash, Walnut, Cherry. It's all about density, not specie.
Do you include any other reinforcement? Will the laminated neck stay straight without a truss bar? I'm about to build my first piece and am gathering expertise. Thank you!
I always install an adjustable truss rod in steel string guitars; none in classical guitars. I have not used such additions as carbon fiber to date.
One piece necks made a lot of sense when glue was really low-performance. Modern glues can be stronger than wood, and a stacked heel or a scarf joint is no longer a weak spot. I think that's the reason.
Glue has never been an issue. Laminate framework for pianos has been assembled with hide glue long before aliphatic resin or even casein glue existed. On a shear draw (the engineering standard for measuring glue strength) even hide glue will withstand stress greater that the wood. The trick of course, is proper mating surfaces and correct working technique.
@@thepragmaticluthier Thanks
I agree with you Kevin. I've even made joints with diluted Elmer's white school glue that decades later are still practically unbreakable without tearing wood away from one side or the other. The quality of the joinery is the key for sure. Most folks don't realize that the cellulose molecules and fiber structure of wood are 'glued' together naturally to begin with.
Thanks for your comment. I hope many, many people read it.
@@thepragmaticluthier Can I ask about the volute carved below the nut on some old Martins? I was told it was to give more glueing area at a scarf joint. Is that not so?
A laminated neck is always preferable because of it's strength. The old solid necks tend to move quite a bit more as the seasons change and it's always been my experience that the laminated neck is superior. I also believe that high end Ibanez necks are the best. I've owned a Carvin in the past and that neck was laminated, thru-neck. Today I would tend to gravitate toward a laminated neck with carbon fiber rods on either side of the truss rod. I actually think Parker guitars which are all carbon fiber are the most stable I've ever seen. You'd be amazed by how much a neck can move through the year and what that does to frets, the fingerboard, inlays, the nut and the neck to body joint. I completely agree with this man, maybe not for the same reasons. I do think that people have gone to the extremes with woods. As long as a tree is planted for one that is harvested, the Earth will get along just fine. She's been dealing with humans for a very long time and she can handle things quite nicely.
Guitar Tops: Does a perfect top mean better sound? Try this video from my playlist.
@@thepragmaticluthier Of course, Sir. Vibrating strings contact the top via the Bridge. I don't think any of us could afford a "Perfect Top" but it's crucial to the tone of that guitar. I would say more so when talking about a chambered body or a semi-hollow.
I don't care about what a neck is made out of, as long as a Strat ONLY has a one-piece maple neck.
Totally agree with everything. I just don't like Ash, even for a Tele. I'm weird that way. Actually I'm weird in a lot of ways. Like a lot of woodworkers.
Your weirdness is very welcome here! Many think I'm weird also, because I WON'T use solid necks and I WON'T build guitars with Mahogany, Rosewood, or any of their equatorial counterparts.
Edward Freeman laminated flamenco necks back in the 50's.
I'm not at all surprised. There is certainly nothing new about laminated wood, even in huge architectural structures. Thanks for your comment.
@@thepragmaticluthier He sawed the neck billet into three pieces, longways of course, then he took the center piece turned it over and reversed the ends. Clamped and glued it up. He said that added lots of strength and offset any warping tendencies. That was before carbon fiber rods had been invented
Makes sense now due to limited resources, but my preferences are for a solid ( as much as possible) guitar. Not a laminated. Some guitars are craftsman's master pieces. I prefer solid wood when possible. It looks much better. I know it's just my choice. But I am the one whom will be buying and playing for a very long time.
What you're saying's absolutely valid. Every building and player should feel free to create and use the instruments that suit them. I wish to engender thought, but not legislate change. Thanks for your response.
@@thepragmaticluthier Great work, not only for guitar building but educating new luthiers about scarce hardwood management. Just to note about alternate materials. In the 70's, I built a SG out of Plexiglass. Tone a bit dead, but WOW was it heavy. Cut the neck down from and old 12 string. Used cheap KAY guitar pickups from the local Woolworth. Sorry if I'm dating myself. But it was way fun! Everyone should try to make an instrument if they are playing. They will become very fond memories as we age.
Nice work, Kevin. I agree with your ideas on questioning traditional methodologies in acoustic guitar construction, and breaking from them when the conclusion is that they’re only being employed for “The Sake of Tradition.”
I choose to embrace both approaches to neck construction…depending on the circumstances surrounding each individual build (ie…woods being used, client’s requirements, aesthetic vision, etc.) In my opinion, there are definitive benefits found within both methods…and embracing one path doesn’t require the rejection of the other.
My “one-piece” necks are made from large beams of 16/4 Honduran Mahogany that is quarter-sawn, very old and very stable. In my artist’s heart, it would be an injustice to use these beams in any other way because they are perfect for this application, as well as difficult to acquire. My “built-necks” are constructed from flat-sawn boards, with center strips of contrasting woods…and even very thin veneers in certain applications. Both methods are appropriate for the wood being used, and both are effectively stable and strong. No matter which method is being employed though, I believe that a front & rear plate on a headstock are wise structural additions, as well as being aesthetically pleasing.
Thanks for this video, and your thoughts/ideas on the subject of neck construction techniques. And a big thanks for including video of your beautiful guitars 🎶❤️🎶
-joel
I appreciate you reaction and you compliment and wish you success and enjoyment in your guitar making.
I could never get my head around instrument reviewers marking down instruments with scarf joint headstocks and stacked heels.
They know not of what they speak and spread much silliness.
The only laminated necks I have are two mahogany through neck Washburn basses.
Out of eleven necks here only one is not "mahogany". It's also the only bolt on. A maple neck on a Yamaha bass.
Everything else, ukes, acoustic and electric basses, steel string, classicals (including the one I built), Les Paul etc. have set "mahogany" necks.
Oh my cello has a maple neck too. Two out of twelve then. 🙂
Product reviewers: The all too often, Rush Limbaugh's of retail
While I truly know that laminated is way better. I also think that chunky necks will also take a lot more cranking pressure to take out an underbow..
With todays technic of taking the heel and sawing it in half horizontally and carving out the head angle and scarfing halfway up the headstock, your using only half the thickness of a block of wood to make a neck .. and with the grain turned perpendicular on the other half of the heel , it makes it stronger..
And you can get 2 necks out of the same neck you used to get out of one same sized block of wood...
But there's no denying that laminated is stronger ... but the amount of wood saved is minimal with laminated nowadays.
That said .. I think if I'm building a chunky neck it wont be laminate... but if im building a thin or low oval neck will surely be ...
Absolutely. laminated necks are structurally superior to one piece necks. and they can look awesome too. i prefer laminate to one piece in my builds.
Laminated neck is not a new idea. Laminated neck was used by Torres.
Laminated necks probably go back as far as making necks for any number of instruments. I don't tout it as something new, just something to consider when making them.
@@thepragmaticluthier Aloha! It the best way to save wood when making a neck. Mahalo!
The old Framus 12 strings had 50 laminations.
I'll make a few comments from an engineering viewpoint. The act of laminating a neck shaft does not AUTOMATICALLY make it stronger, stiffer or more stable. It is not the laminating process that achieves this by itself, but care in grain orientation, and selection of stiffer species for the centre laminates can certainly help. Most factory built laminated necks are just an aesthetic choice.
I didn't include that in my presentation because I have faith that anyone who would go to the length of laminating a neck would know that.
@@thepragmaticluthier obviously you understand that and apply best practice to selection of your neck components but unfortunately many think that the act of laminating just automatically adds strength stiffness and stability. I had one builder tell me that laminating his necks made them 5 times stronger
Thanks for the info--hey but don't completely dismiss a one piece neck---if you are making a limited number of guitars and you have some nice pieces in the dimensions ---a one piece neck has a certain ellagane.
Any builder is welcome to make instrument necks in any way they want to. Within my shop and my self imposed perimeters, I dismissed solid piece necks twenty eight years ago.
But that waste can make some lovely braces and linings.
Your description of the amount of waste produced in making a one-piece neck borders on disinformation. I don't know anyone who makes a one-piece neck the way you demonstrate it early in the video. Every builder I know starts with a neck blank that yields two necks that are nested and produces far less waste than what you showed. Also, it's not a given that the "waste" pieces left over after cutting out two necks from a neck blank are actually waste. They can be used for making a variety of other parts.
Otherwise, I salute your openness to using woods other than the traditional ones and your willingness to question standard methods and approaches.
An inlay artist at Martin Guitar told me 10 years ago that Mahogany blanks large enough to get two or three necks are tossed because they don't fit their tooling. There are many manufacturers other than Martin that mass produce these instruments. It does seem pretty logical that independent builders and much smaller shops probably don't, and can't even afford to generate such waste.
I must agree with @django02. I think your argument is completely skewed to substantiate the claim. Every large manufacturer's factory tour I've ever seen (Gibson, Ibanez, Guild, etc...) nests their neck blanks. It only makes economical sense. Plus, it only takes seconds to separate the pieces with a band saw. I took a factory tour of Taylor in the mid '90s and saw them, first hand, doing this. Otherwise, I like your channel a lot. Many salient points.
Martin factory tour from 2010. They clearly are NOT wasting wood, as they can be clearly seen nesting neck blanks from one large billet.
As you said at the beginning of the video, "I want to begin by ruffling some feathers". We'll these feathers are duly ruffled.
ruclips.net/video/TzD9APh4Amg/видео.html
Also, this Gibson factory video from 1967 (I tried posting this earlier, so apologies if it appears again).
You can clearly see the billets of wood marked up with the nested necks to get the most out of the piece of wood.
Watch from 6:08 - 6:30.
ruclips.net/video/3-zOaOYB120/видео.html
A.k.a. Yamaha and Alvarez