Myka Guitars

Wow Stu, nice work for a first time build. Looks like you did your homework! That is some excellent detail on the binding/purfling. Can't wait to see what's next. ~David

The curved edge of the bass is going to be tricky. I would strongly recommend doing some test veneer work first especially if this is your first time doing a compound curve. It may or may not work because as the wood wraps around the edges it either wants to compress or pull apart. Doing a binding edge may allow you to make the transition if you do it so as to avoid the curved potion of the top. It is possible. Maybe have the binding more towards the flat area of the top. This will require either a custom template smaller than the perimeter of the bass in order to do it or a wider binding/purfling scheme. Something like this. Binding is the wood or plastic on the outside edge of the guitar. The purfling is any lines on the inside of the edge next to the binding, or just away from the edge. This shows flamed maple binding with silver/abalone/silver purfling on the top edge and silver purfling on the side edge: This pics shows just ebony binding. And this pic shows a violin with just purfling. Notice how the top wood has not been routed away and a purfling channel was cut away fro the edge. ~David

I won't actually be in Seattle by then. I plan to take some time and visit some friends on my way across the country. I should be in Boulder during the show this year. Next year for sure. By then I'll have a new acoustic design finished too. I haven't done anything with the double tops either. I was more curious than anything. It is an interesting idea that is getting some great reviews by builders and players. I can see the merits of a lighter top and how that will increase resonance. The composite nature of the double top will also be much stiffer and open up new ways of bracing that are focused on tone more than structure (always a compromise). I may work with the idea at some point but I agree with Mattia and will get a handle on solid spruce tops first. There is enough to learn there to last a lifetime. I did start experimenting with a veneered spruce top idea, sort of like this Dragonfly but as a flat top instead. So far it has a good tap tone to it. This guitar idea is a complete hybrid instrument so I am not sure how it would do as a full size acoustic. It is basically a smaller hollowbody electric with a laminated top (burl/spruce/holly) and (in this case) rosewood bracing. It will have a neck pickup and an acoustic style bridge with an undersaddle pickup. It is on hold while I move but I will continue with it in June. Here is what I have so far. jammy, your friends speaker cone acoustic top sounds wild! Please get some pics if you can. ~David

Hey, I thought I already had your undying friendship. What gives? So far everything is going to forum members guitar projects. That's awesome! ~David

I either notch the ends into the sides or I feather the taper to nothing before the edge of the purfling. The latter is my preferred method these days. I am trying to make the top very responsive and loosening up the edges helps me achieve that much like the recurve on an archtop. If I do notch the braces it is usually just the upper x-brace on the tops. I recently made a top with a smoother taper on the braces like Rich uses but still scalloped then a bit at the ends to loosen up the soundboard edge. It worked very well. Also note that the bridge plate is spruce at 45 degrees (like Petros) with ebony over the top of that. This really stiffens up the center and hopefully eliminates much of the bulge around the bridge. I will find out how it works as this guitar is in Seattle and I can watch it age. Here is a pic of this one: Rich, I would be interested to see how the lattice idea works for you. It is an intriguing idea. Anyone work with Nomex or the double top concept yet? ~David

I usually use 1/4" to 5/16' wide braces (1/4" in the pic). I like to use narrow but tall bracing, even on my tops. I rarely use any width over 3/8" and those are usually just for the x-brace with the rest being narrower. EDIT: Here is a link that shows some braces drilled with holes to reduce weight. ~David

No there isn't much of a problem getting the back to dome like I want it to. I use a radius dish and sand the braces to the curve and also the side rim so that when I glue and clamp the back on it conforms very well to that shape. The bracing concept was to have a stiff center with the perimeter being quite flexible so the angle on the top edge of the sides pulled the shape into the back. It is more flexible with this much of a span between the X's but when I started putting the larger X near the center this was remedied. Yes it was quite boomy and responded almost too much to the top. That is what lead me to move the larger X to the center of the lower bout. It helped a lot and the low end was more crisp. I had one back that was very flexible Koa and I put the X in the center of the lower bout and also ran braces along the center seam. This stiffened it up considerably and made sure the arch was maintained. I also carved the braces much thicker. Here is a pic of that one: As soon as I get setup in the new shop in Seattle I will have an area devoted to making acoustics. I can't wait to get into this again and really explore more of these ideas. ~David

Indeed! What a cool thread. Here is another pic to add to it of an older style I made a few years ago: The upper X only functions to limit the resonating area of the back to somewhat of a circular shape but i love the look so i still use it instead of a straight brace. Also there a neck block with a large heel above it. You can see that in this pic. The only difference I have made with this standard shaped design is to place the larger X in the center of the lower bout. The low end sounds more articulate having it there. I still love experimenting. After a few more of this shape I may have a set design. For the back at least (don't get me started on top bracing). ~David

Then why change it? You must have been motivated by something other than boredom? Perhaps not. I have changed things for this reason too so I do understand it. I think that if you have built with similar materials in the past but used a ladder bracing instead that you will notice just how much of a difference back bracing makes. I am a big fan of x-bracing on the back but I center it in the middle of the lower bout. The way you have it this will be a slightly less stiff back because your x brace is going diagonally across the grain instead of perpendicular (like the ladder style). Here is how I made my last one: It had wicked projection and a very articulate low end compared to other designs I used. EDIT: I meant to add that I think your design will do something similar to this. I like to look at the back like a speaker cone and tightening up the center between the X should have an affect. Let us all know how it turned out and if it changed anything for you or not. I am always interested in bracing design. ~David

As some of you already know I am moving the shop to Seattle this spring. So I have been cleaning the shop and have some stuff for sale. It is mostly new stuff with some used parts. Prices are negotiable so please make me some offers. It all goes on eBay in a couple days. Shipping is extra and I will ship anywhere. Click on the pics links for pictures and more information. PM me if you are interested. Here is the list: Pickups: Barely Used Tom Anderson H1+ Humbucker (4 wire) - $50 - pics Barely Used Tom Anderson H01+ Humbucker (4 wire) - $60 - pics $100 for the pair Used Seymour Duncan SH-2 Jazz model Humbucker (4 wire) - $45 - pics Used Seymour Duncan SH-4 JB model Humbucker (4 wire) - $45 - pics $80 for the pair Trem: 1 New Stetsbars in Nickel - $220 - pics1 - pics2 Please feel free to make some offers. This stuff has been collecting dust and I need to clear it out before I move. Thanks, ~David

Nice work Chris! You can now breathe easy. I don't understand why people want rejected guitars instead of sending them on. And taking them off from Chris' hands is not doing him a favor. These are not what he wants to represent his work so why should we disagree? Chris is the artist here and he chose their final expression. So in my opinion this is not a waste at all. In fact not burning them is a huge waste of time. You get drawn into thinking about them far too often only to come to the same conclusions over and over again. It does feel good to finally make a decision about projects like this, doesn't it? I think it is some great performance art and really sends them off in style! Now you can get on with bigger and better projects. ~David

The saw is now sold. ~David

Hey that turned out great. I also thought it was going to be lighter but I really like it and you can still see the metallic effect. Nice! ~David

I have seen that effect before on specific pieces of maple and liked it. If you spray color coats over this it will still be there but the tint will cover it a bit, how much depends on how transparent it is. Once you spray the colored lacquer you will see how it will look right away. So my advice is to try it and see. If you don't like it you can sand it off and continue with more clear. ~David

Well now you have made one how you should do them instead. Actually I thought the design was very similar but I got my ideas from the ether so you might have too. It's cool to have been an inspiration to you nonetheless. I really like the asymmetries in the body design. I thought it was not only intentional but a great variation on the theme. It is good to see some fresh ideas like this. You have me anxious to start work on my project now! Maybe in a couple months I can make time to do that. For acoustic pickups I have had great success with Pickup The World's UST pickup (3rd one down). You can fit it underneath your saddle quite easily. These pickups are not piezo but are much better in my opinion. They have a warm, woody organic tone that captures all the acoustic nuances of the guitar without any of that piezo quack (never liked that personally). The LRBaggs Control-X preamp is also a great way to go if you want to blend your acoustic and magnetic pickups onboard. ~David

This is a great looking guitar. I was just drawing up a fanned fret version of my Dragonfly that looks very similar to this. I like the narrow waist and rounded edges on your design. It looks very comfortable to play. The tone you describe is what I love about smaller archtops. Very nice! ~David

I think he is talking about how you will lift off the cover once the magnets hold it down. If there isn't a place to put your finger you will have a hard time removing the cover once it is flush to the body. ~David

Hey Diezel, This project looks great. I have no hesitations when it comes to removing damaged goods and making something new and far superior. I personally think that you made a mediocre guitar into a gem. It looks much better than the original especially with the new inlay concept and the finer workmanship on the neck. I bet it plays like a dream. Good call and excellent work! ~David ps: Tony is a wicked luthier! Thanks for the link to his website.

Cool! I can't wait to see how it turned out. I have been using it just for tops (and backs) since I have other jigs for necks and other parts that work fine. Please share your ideas for other uses. It might spark some more interest in these machines. ~David

If you heard the tone from this thing you would have simply died. Where are these countries exactly? I'll put them on my list of tonally corrupt places never to visit. Thanks Drak, I knew you would get it straight away. WOD inspired for sure! What else can you really do with them? It is a good thing. Glad you like the pics! ~David

It was a cold night, clear skies and a biting wind. With the tips of our fingers numb from the chill winter we kindled a flame. My good friend Brian and I got together took care of some loose ends. These two instruments represent failed experiments in the pursuit of perfection. Both were finely crafted instruments but both were flawed in some way. Often our thoughts travelled along avenues of repair or rework only to end in indecision. We finally decided to release ourselves from the past in order to flow forward with our creativity. The materials were harvested from the earth and so we sent them back. No longer will our thoughts be burdened with these ill-fated constructions. This is a lesson in letting go. In an effort to document this process I have produced a web page with some excellent photography of a subject matter that you don't often get to see: Custom Burn. Enjoy!~ ~David

Do you mean this one by Howard Klepper? Dovetail guitar gallery.

This is not to discourage you but if you have never built a guitar before you will most likely ruin the bracing by trying to alter it. If you seriously want to learn about acoustic guitars I would suggest building a few first. Learn how to fine tune an acoustic by building one that is finely tuned. It is impossible to know how to adjust braces without an intuitive understand of how they function in the first place. ~David

ToneMonkey, yes it is a little armrest. It will be the first one I have done so I am pretty excited to do it. I will probably use a veneer of ebony over mahogany to do it. Then again I may use the bloodwood. We'll see! ~David

MiKro, you are the best! Thank you! ~David