Official Luthiers Forum!

    I've been picking away at the guitar for the trip to Africa in July along with some of my ordered guitars. I have stayed up overnight a few times just to dedicate some time to it in order to have it ready in time to use ahead of the trip and to pique interest in its upcoming auction.

   I'm sure you'll all agree that the true beauty of all of the woods donated by the fine folks here at the OLF are starting to show more of their potential. This is going to be a beautiful guitar and its tap tone that becomes much more evident after binding locks all of the edges together is strong, responsive and very loud.

    Here are a few photos of recent work on it. It has progressed quite a bit since these were taken and I'll post more pics soon.

   If you look closely, you'll notice that I've maintained a thin line of Bloodwood throughout the binding and purfling scheme for obvious symbolism.

   I'm beginning to think about inlay ideas so if anyone has any, please share them with me. I'm leaning toward more of a simple and understated/elegant scheme with a mixture of wood and shell for the inlay. I have loads of small wood pieces that will work great and offer vivid and warm colors and textures to anything I decide on. Purpleheart, Pink Ivory, Bloodwood, Kiatt, Ugandan Cypress among others will provide a broad palette of hues to select from so it's just a matter of locking in a design.

Thanks,
Kevin Gallagher/Omega Guitars














Kevin Gallagher38810.8448958333

Absolutely Gorgeous! Way to go! There is going to be a very happy person soon. Very impressive.

Kevin that is looking great. Beautiful mitre work.

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The Zootman
1109 Military Rd.
Kenmore, NY 14217
(716) 874-1498

Man, that sure is a beauty! I was fortunate enough to visit Kenya with my wife and kids several years ago...I'd go back in a heartbeat! How about a Baobab tree or Masai spear for inlay?

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http://www.presnallguitars.com

Wow, that's what they start to look like after 500+ eh?

Sweet there Kevin, realy sweet.

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

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The beauty of the woods is only accentuated by the excellence of execution. Wow Kevin! Wow!

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http://www.dickeyguitars.com

Absolutely stunning. You do exceptional work, Kevin. The Lord will truely bless your efforts!

Wow! that is one work of art

Mike

I'd like to play that before it goes! WHere's it being auctioned Kevin?

Beautiful work Kevin! Your miter joints make me want to give up.

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Dave Rector
Rector Guitars

Kevin,
You are a true artist with noble intentions!!

Elegant, Kevin!
That binding really sets it off. Do you bind the ends of all your fretboards?

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Give me 50 cents worth of regular.
Check my oil too, if you don`t mind,,,

Very nice work Kevin. If you don't mind, what are the little pencil looking things in the cutaway point picture?

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Tickle your guitar daily, and it'll tickle you back.

Very, very nice work.

random question: what glue do you use for your bindings?

That is beautiful Kevin.

I am with John How... what are those points on the cutaway... I presume a clamp of some kind?

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Brock Poling
Columbus, Ohio
http://www.polingguitars.com

[QUOTE=Brock Poling]
... what are those points on the cutaway... I presume a clamp of some kind?[/QUOTE]
They look like spring/c-clamps. You can see how they circle around from point-to-point.

Kevin, that is mighty fine workmanship! A tree came to my mind, too, when you mentioned inlay. I'd stay away from any tribal symbolism.

Kevin, this guitar is splendid, elegant,refined and your craftmanship is just amazing, stunning, and i lack words to describe it UNLESS WOW WOULD SUMMARIZE IT!

Lovely combination of wood, execution and cause.

Here's an inlay idea that you might find appropriate.

   Thanks guys! Those points on the binding at the cutaway point are spring clamps. In that photo, the binding and purflings weren't glued yet. I had just cut the miters and was clamping for a dry fit before gluing.

   I make those clamps from various sizes of round stock to provide different tensions and pressures on small areas that can be stubborn like those ends of the binding on a Florentine Cutaway point.

   With wood bindings, I always LMI white glue. I've always been of the belief that the corners where interfaces between the sides and plates are formed are critical to the resonance and sustain of any body. The glue from LMI dries very hard and contributes to the integrity of the joints because it does. With any of the plastic bindings, I use DUCO or similar style cement. These glues actually melt the surface of the bindings that they come in contact with and create a very tight fusion between them and the woods that they are being joined with.

   Using the acetone based cements causes the bindings to become very hard after drying, too. This creates that same tight integration between the sides, top and back that is conducive to optimal vibration transfer.

Thanks again,
Kevin Gallagher/Omega Guitars
   Kevin Gallagher38812.3383564815

Great tip there Kevin, is it possible to epoxy the binding/purfling strips to obtain similar results on sustain and hardness of the joints? My thinking on this is if epoxied in the channels and on top of the strips, those joints would be sealed tight also, i'd like to hear your thoughts on this please.

Kevin, this guitar is looking awesome. I am always encouraged when I see your work,and how you are using your talents for the glory of God.

Can't wait to see this thing under a finish. Beautiful.

Ron

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OLD MAN formerly (and formally) known as:

Ron Wisdom

Somewhere in the middle of Arkansas......