Official Luthiers Forum!

Jim, I thought about the bridge a great deal before going ahead with the shared pin method. I've restrung enough 12's to be annoyed with the 12 pin set up. Every thing seems too cramped , and your strings often nudge other pins. To replace a string , you sometimes have to remove another pin , and that's if you CAN remove the pin . I also wanted to get away from having 12 holes drilled in this important area.

I saw Dave white and Howard Klepper use this system, and after some of their advice ,was sold on the idea.

All of us have used the Stewmac oversize pins . There is enough room and the strings seat themselves nicely.

It also allowed me to reduce the size/weight/footprint of a normal 12 pin bridge. I could also get the string spacing where I wanted it and not be dictated by the width of the bridge pins

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CRAIG LAWRENCE of AUSTRALIA
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Cheers Chris !
                  The liners are a Charles Fox idea. A two piece arrangement , whereby the ( Walnut ) kerfed part is glued on first. This part has a rebate to fit the ( Tas. Sassafrass) strip flush, which is glued on as a second operation . It makes the rims very stiff and a nice solid area to glue on the plates and hopefully contain most of their energy. The sides are .1 " thick for the same reason

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CRAIG LAWRENCE of AUSTRALIA
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Sorry Allen ,I missed your question.

Yes ,I use locating pins for the top and the back. Just ensures them to be glued in the exact correct spot and takes that issue away when your rushing to get the glue-up done while the stuff is fresh.

Actually ,a fair bit of the inside detail is noticed through the soundport. I find people delight in peeping inside.

Thanks for your kind words mate

Regards Craig

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CRAIG LAWRENCE of AUSTRALIA
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Not bad for a second guitar

You know I love that guitar, almost as much as your first.



You can see the rest of that guitar here

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My Facebook Guitar Page

"There's really no wrong way, as long as the results are what's desired." Charles Fox

"We have to constantly remind ourselves what we're doing....No Luthier is putting a man on the moon!" Harry Fleishman

"Generosity is always different in the eye of the person who didn't receive anything, but who wanted some." Waddy Thomson

Craig, you are a true craftsman.

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My Facebook Guitar Page

"There's really no wrong way, as long as the results are what's desired." Charles Fox

"We have to constantly remind ourselves what we're doing....No Luthier is putting a man on the moon!" Harry Fleishman

"Generosity is always different in the eye of the person who didn't receive anything, but who wanted some." Waddy Thomson

I don't know how many times this has been said, but let me add it once more, just how elegant that guitar is.
I particularly like the "broken" purfling on the headstock/fretboard, and the way it is mirrored on the bridge. That is really something special.
Fantastic guitar Craig!

Steve

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From Nacogdoches...the oldest town in Texas.

http://www.stephenkinnaird.com

Kiwi mate, how come the inside of your second guitar looks better than the outside of my second guitar?

It just ain't fair.

That is really nice Craig

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Jim Watts
http://jameswattsguitars.com

Wow, impressive piece of work!

Love the interior details.

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Howard Klepper
http://www.klepperguitars.com

When all else fails, clean the shop.

Aww, is that sweet!

Max Bishop
Brighton, Michigan

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Max Bishop
Brighton, Michigan

Dang.

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"I want to know what kind of pickups Vince Gill uses in his Tele, because if I had those, as good of a player as I am, I'm sure I could make it sound like that.
Only badly."

Craig, this is a real showpiece!!! Congratulations!!!

long

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"No man ever steps in the same river twice, for it's not the same river and he's not the same man.” -Heraclitus of Ephesus

thats a real beauty,Craig!

Many thanks Rod. I love my six string too . It's such a great guitar to play, but it has taken rather a back seat of late . I'm really getting into this 12 now . It sure rocks and is sounding better each time I have a session.
I'm pleased you like the broken ivory lines Steve. It's just something that came to me and became part of the overall design. cheers mate.
Appreciate it Paul and Jim.
Howard , it means a lot to me coming from you , and once again many thanks for giving me some of your time.
Max,Bob and Vachterm , you guys are too kind .

And Don ,,Thanks for another 'DANG '   

I made the neck a bit wider at 1 15/16 " for a little more space between all those strings and am pleased I did. It's a total bolt on with carbon fibre rods and a two way rod
The body is 4 5/8 " at the tail

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CRAIG LAWRENCE of AUSTRALIA
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Here's a shot of my little Paua Kiwi inlaid into the neck block , viewable through the soundport

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CRAIG LAWRENCE of AUSTRALIA
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Dang #3 ! ! ! !

I'm just so floored with this one, and I was floored with your #1 as well. Everything about it exudes class and style. The laminated/purfled side braces, the Kiwi on the neckblock, the broken inlaid "purfling" on the neck, bridge, and headstock are too cool for words. Everything about this is expertly fitted and tastefully done. If I didn't know better, Id swear your last name was really Kinnaird or Klepper! I'm not sure how you can raise the bar any higher than you have, certainly I know of nobody's first and second instruments that I can put at this level. If it sounds as good and plays as good as it looks, it's a total winner.

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"I want to know what kind of pickups Vince Gill uses in his Tele, because if I had those, as good of a player as I am, I'm sure I could make it sound like that.
Only badly."

[QUOTE=Don Williams] Dang #3 ! ! ! !

I'm just so floored with this one, and I was floored with your #1 as well. Everything about it exudes class and style. The laminated/purfled side braces, the Kiwi on the neckblock, the broken inlaid "purfling" on the neck, bridge, and headstock are too cool for words. Everything about this is expertly fitted and tastefully done. If I didn't know better, Id swear your last name was really Kinnaird or Klepper! I'm not sure how you can raise the bar any higher than you have, certainly I know of nobody's first and second instruments that I can put at this level. If it sounds as good and plays as good as it looks, it's a total winner.[/QUOTE]

Don, Craig took his #1 to a local music store and was offered $5k for it by a nationally known musician who just happened to be there. So they sound as good as they look.

Sorry Kiwi I know you kinda told me that in confidence, but it just had to be revealed. I'd be telling everyone if it was me.

Craig nice guitar shame you couldn't find any decent back wood

Those are very kind words Don ,much appreciated.

Cheers Paul, If it hadn't been my first ,I may have grabbed it too !

I do build with the sound being top priority , but also enjoy the aesthetics

Yeah , the backwood is a bit rough Bob Fantastic wood to work and finish. No trouble bending the sides at   .1 " The amount of flame that popped out even surprised me !. I have another similar set fortunatley. Thanks Bob

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CRAIG LAWRENCE of AUSTRALIA
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Craig,
That is just fantastic workmanship, and a very beautiful guitar. I really like that rosette Looks very familiar. Congrats on a real beauty!
Tracy

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Tracy
http://www.luthiersuppliers.com

An enormous thanks to L.M.I. for supplying me with such wonderful tonewood. I bought two sets of this Myrtle , with instructions "Please send me the best you have " , as at the time ,I intended this wood for my first build. Like all their tone wood , it was immaculatley prepared. Thanks guys for sorting out such beautiful wood
Also to Zhevlakov Dmitry (reputed to be the world's no.1 ) rosette maker and Tracy (Luthier supplies) for suppying it. I just couldn't resist using it, as it suited the guitar so well.
Thanks also to Rich. Lipp & Son ,(pianomakers )for the superb ivory used in the purfling

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CRAIG LAWRENCE of AUSTRALIA
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