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In an effort to explain my approach to tap tuning I'll include a few photos.
In my opinion there is no right or wrong method for this, and I'm sure every builder achieves different results no matter how they might approach it. Aside from the design of the instrument, tap-tuning is the one area where the builder can add his/her own voice to the work. And this comes about through experience.
My own experience with tap-tuning began when I started making mandolins. Like many others when I started I used Gibson blueprints and followed the measurements listed very closely using calipers. But then why didn't they all sound the same? I then did some research and noticed a lot of mandolin builders were using a strobe tuner, tapping various parts of the top, back and tone bars trying to get certain pitches consistently, hopefully get consistent results. I did this for a few years without much success. After awhile (maybe too long) I gave this up, throwing away all the notes I had taken along the way, notations made after just about every plane stroke, every tap of the hammer. It seemed to all amount to nothing. The last thing I would want to do is discredit this approach as I'm well aware that many use it with great success. It just doesn't work for me.
It was around this time I landed an apprenticeship with archtop guitar builder Bob Benedetto. This changed everything for me almost overnight. For 2 years I got to learn from a master who had been building for 40 years (I had been doing it for a mere 8 or 9 at the time). It was around this time I learned to throw the calipers away and follow my instincts. I'll try to keep this short as I go over the photos.
In the first photo I'm checking the flexibility of the plate after the initial planing down just to see where I'm at. It is always very stiff at this point so there is more carving to be done.
I'll keep carving and checking until it starts feeling flexible, making sure I keep things even all over.
The 3rd photo is one way of holding it while checking for flexibility, I'll get into a routine, checking it while holding it in both hands as well as pushing down on it while it's clamped in the cradle.
The next photo is the classic tap-tuning pose. This is a way of getting familiar with the wood and tones produced. In the beginning it will sound very tight and unresponsive, but slowly the pitch will lower and become more defined. Once you become familiar with the tap tone, there will be certain sounds you will seek out and come to expect.
In the next photo it's back in the cradle for some more carving, getting it to open up some more.
When I'm satisfied with the feel, flexibility and tap-tone I'll take it to my sanding table and smooth it out with 40grit sandpaper, then finish it to 80grit or so.
This, a very abridged version tap-tuning, is a great way to eventually get consistent results carving top and back plates, as well as leaving lots of room for growth and improvement as an instrument builder.
Questions and comments are welcome if anyone has made it this far.
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09-02-2010 04:18 PM
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I read an interview with Paul Reed Smith where he went to Japan. He was amazed by how sharp the tools were. In Japan you "sharpen all morning and carve all afternoon" or something to that effect.
Originally Posted by wwwilkie
StewMac had a Tech Tip on how to sharpen chisels. I had never tried it and was shocked how easy they are to use when they are sharp.
Keep it up!
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These are some great walk thrus! Thanks for the effort!
~DB
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[QUOTE=SamBooka;95510]I read an interview with Paul Reed Smith where he went to Japan. He was amazed by how sharp the tools were. In Japan you "sharpen all morning and carve all afternoon" or something to that effect.
Yes, I've made a couple trips to Japan myself in recent years and there seems to be an ancient, truly magnificent woodworking culture they have. I picked up up a few tools while I was there and I use them often.
Never have I had my instruments scrutinized like I had over there either, really forces you to take things up a couple notches.
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This builder has a series on his You Tube site showing the stages of building a guitar from start to finish.
Interesting process
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Abridged it may be, but you have explained an awful lot, and it's all good stuff I reckon! I think you also convey a lot how experience and knowledge play a key role in making a great archtop. It has occurred to me in the past that the tap tuning is done before adding bracing to the top, and also (obviously) before the top is fitted to the guitar - so that the conditions it will be working under in use as part of the guitar, are somewhat different to those that apply when the tap tuning is done. I'm not questioning the validity of tap tuning at all - I guess that it is still a sophisticated/intuative way of getting the best from the wood you are using? Also it must take experience to know how a certain tap tune result will sound when the guitar is played? Originally Posted by wwwilkie
Many thanks for going to the trouble of answering my question so well though - much appreciated!
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Thanks Meggy.
To me tap tuning starts when you select a piece of wood and finishes when you decide "that's it". For me the procedure is similar for the top, but there is a bit more to it because of the tone bars and f-holes. For the top I will cut out the f-holes before I finish carving the underside. This gives me a better idea of the flexibility of the plate before braces are added, and I will continue the tap tuning procedure by shaving down the braces. I install them extra tall, not only to give myself plenty of room but because there is just something extremely enjoyable about shaving them down. The final adjustments are made when both top and back are attached to the rims, the binding is installed and I'm ready to set the neck. Usually at this point I will only deepen the recurve area around the perimeter, and make sure it blends nicely into the arch.
I think you're right, it is a very intuitive way of getting the best from the wood you're using, and really differs a lot from piece to piece. It still surprises me how much variety you get with similar woods. They might be the same species but one is very stiff, the other extremely flexible.
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First the rims will need to be leveled. I do this on a flat sanding disc. This ensures that neck and tail block, linings and sides are flush.
Next the back is glued on using this press and specially made clamping caul which applies even pressure all around the edge of the guitar.
The back and sides are removed from the mould.
A wash of thinned out shellac is brushed on to seal the wood.
Now the top needs to be carved and braced.
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Wow, Wilkie! Great stuff. Just like Bob B., you are so willing to share your knowledge. Thank you. I worked at the Guild/Fender Custom Shop in Nashville in '99 to '01 where Bob taught Evan E. and me to build his guitars for Fender. I just found your thread and I'll be following it. I build Redentore Guitars at my shop in Spring Hill, TN. I have a slideshow on my website (www.redentoreguitars.com) showing construction and tooling for my 17" archtop. Please feel free to visit. If I can help you in any way, please let me know. I will check out your website as well. Best to you. Jazzboxmaker.
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Thanks Mark, your work looks great. I really appreciate the kind words, wyatt
Last edited by wwwilkie; 09-08-2010 at 05:55 PM.
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So tap-tuning is something that continues all the way through the making of the guitar, and not just for the top either. That's a couple of misconceptions I had corrected there! I admit to knowing very little about guitar-making, and have about zero natural talent for any kind of craftsmanship, but it is good to understand things a bit better now thanks to your thread. I will keep following, cheers again! Originally Posted by wwwilkie
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Wow. Awesome video. Thank you.
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Fabulous-What great craftmanship! Loved the way you scribed the braces. What did you use-a pair of compasses?
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That is great.. Originally Posted by wwwilkie
What is heart breaking for me personally is .. I just dont have the patience
Keep it up.
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That is simply awesome!
I have to ask, is free handing that edge with the overhead router the easiest method? I would think that a guide pin would save some slipped movements...
~DB
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Never thought to use a guide pin but that's a good idea. I do find it pretty simple to do it free hand though. Originally Posted by lindydanny
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Thanks! Originally Posted by billkath
Yes, I use a compass to scribe the lines and that gets it very close. From there they are carefully fit by hand until they match the curve of the top exactly.
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I just know that any freehand work I do on a router ends up on the other side of the room! I've also seen rabbit bits with bearings that would do the same as having a guide pin... Originally Posted by wwwilkie
Really, in your application, I don't know that you have an issue since that particular cut seems to not need to be too specific. It kind of looks more like you are making the tool do the work for you on that one portion.
Either way, you've got some mad skills!
~DB
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That video was amazing (and very therapeutic to watch somehow) - what you do is truely brilliant! I am particularly impressed by how you are able to match the inside carving to the outside shape. Does it take a lot of experience to get good at this? (I guess it does!
) Another question is on the bracing - what is your personal view on the pros and cons of parallel bracing versus x-bracing?
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I find it very therapeutic to carve tops and backs, good to hear it's also therapeutic to watch. I actually prefer to do it this way rather than use a duplicate carver. Maybe I'll change my tune when the hands start to cramp up but you really get to know the piece of wood this way, get to know how soft or hard it is, it's flexibility. Originally Posted by Meggy
That video was amazing (and very therapeutic to watch somehow) - what you do is truely brilliant! I am particularly impressed by how you are able to match the inside carving to the outside shape. Does it take a lot of experience to get good at this? (I guess it does!) Another question is on the bracing - what is your personal view on the pros and cons of parallel bracing versus x-bracing?
An X-brace pattern would be considered weaker structurally than parallel braces, with the desired result being a warmer, more mellow sounding instrument. The rigidity of parallel braces giving more volume and projection. Of course all of this only comes into play after gaining much experience with carving.
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Thanks for explaining that! I will keep following this thread - who knows, one day I may just have to order a guitar from you... Originally Posted by wwwilkie
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Originally Posted by Meggy
Thanks for explaining that! I will keep following this thread - who knows, one day I may just have to order a guitar from you...
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What a learning experience you have treated us to! Thank you!
When one buys a hand made guitar, it is a bargain, considering the skill and care that you put into its making. I never really understood that till now.
Thanks again.
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What a learning experience you have treated us to! Thank you!
When one buys a hand made guitar, it is a bargain, considering the skill and care that you have put into its making. I finally understand that now.
Thanks again.
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