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THOMAS
GUITARS

LLOYD
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HANDBOOK DISCLAIMER
PLEASETAKE A MOMENT TO READ BEFORE YOU START YOURACOUSTIC GUITAR-MAKING PROJECT!
This Luthiers Handbook The content Gu itars and ThE' content The intention construction is best used in conjunction has been produced with

"I....!vlaster

Class In Acoustic with Chris \}iynne,

Guicar Mdkinq''TY,fO Set.

in this handbook

ii-I conjunction

l.uthler of Thomas l.loyd

Jason

Siruos, Dr d ttsm arl. is as comprohensive as possible in the rorrnat tbat I've have delivered in,

in this handbook of Ihis handbook

is to be a guide only as to the measurements all LUi hier and Timber should suppliers,

that Chris \!l/ynne uses in his tools, rcsou Ices or diagrammatic to at all times. the nOICS,

of acoustic guitars, including

I~II afety precautions s

listed in the DVD disclaimer

be road and adhered

Chris \lVynne or Thomas docu mentation

Lloyd Guirars arc not- liilble for any In_lury that may be G)used to yourself during mentioned and wntten safety warnings

making of your gui tar. \/"jp have at all times noted, verbally

in all our

\Ne have made every effort to a(hicV(' a suitable accompanirnellilo
tried to deliver True and (OIIE'O information This handbook is not to be used in public as we sec it for training, coaching

the "tv'\aster Class" D\iD

Set"

and in E'very area

or lecturin~~ in the area of Custom

13lJilcJir)~1coustic A

Guita -5, unless approved

by Chris V'lynne or Thornas l.loyd C:,uitclfS
Lloyd Gui l,IIS_ public, other than

This ha nd book is not for ind lvldua I sa Ie, U nl(~$) of_] reed fl rst wlth Chris VVynn(" or Thomas This handbook is cove led by copyright to the 'Master and has not been published

at this point to the qoncral

an accomparurnent "The tutluers

Class" D\iD Set. remains the sole property of Chris \,Vynne of Thomas lloyd GUltars_

Acoustic Guitdr Iv1dkinSJHandbook'

e' Chris

\/,"ynne 2007

THE LUTHIERS ACOUSTIC GUITAR MAKING HANDBOOK

THOMAS

LLOYD

DIRECTORY

RESOURCE GUIDE

&

THOMAS LLOYD GUITARS
Thomas lloyd Guitars - School of Acoustic Guitar Making
Chris \.Nynne _ I_uthicr PO Box 1162, nesecnch 309'), Victoria, Australia Phone: VVebsirco: Slog Site ~ 61 39431 249CJ 1"/\II,'\N_thomaslloydguitars,com
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to:

Please send your Master Class Guitar making questions
Support,/ FAQ's: luthieri!;)thomasll()ydguitars_corn

All guil or moking quest(o(ls & feedback sent to us vvill be aasweted via e-mail to YOlf dlreCliy; then posted in your member': oieo CI) a resource ro oil those who have purchosed f he lv105lN Ooss OVD.I (No persona! derail wi/,' be publicly shovvn 1(1 (he post.ing,)

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THE LUTHIERS ACOUSTIC GUITAR MAKING HANDBOOK

THOMAS

LLOYD

DIRECTORY & RESOURCE GUIDE
RECOMMENDED AUSTRALiAN lNSTRUMENT TIMBER SUPPLIERS
Tasmanian Tonewoods fiddleback Blackwood (Back and Sides) Specializing Chris Searle Stcmir:'Y, lasrnania, Aust ali" tasman ian,toncvvoods@hmmail,com Phone: +61 3 6~')8 1/08 in Acoustic Cuitar Tirnbrr'S, Decorrrlrve Timbers & Veneers

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THE LUTHJ ERSACOLlSTIC GUITAR MAKI NG HANDBOOK

THOMAS

LLOYD

DIRECTORY &

RESOURCE GUIDE

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THE LUTHIERSACOUSTIC GUITAR MAKING HANDBOOK

.vvvws . Phclile [e\'Vm (USA) accom + 1 NO 592 3021 I. /\ustrolio 'Nvvwl u lhier'-.THOMAS {_. U I I II LLOYD FI S DIRECTORY & RESOURCE GUIDE RECOMMENDED ALS .Australian Luthiers LUTHIER SUprUERS Supplies Eagle Heights.com . J Stewa rt= (:::-: rt1'lacDonald ® THE LUTHIERS ACOUSTIC GUITAR MAKING HANDBOOK . Queensland.u ppl ies.il U info@luthierssupplies_comau Phone: +61 755454210 Au st r ali a n Lu th ie rs 5 u pp lie s Stewart-MacDonald '.'.

Australian Jarrah Neck.GicJCjC'('.Oueensland IVlaple Soundboard Bracings .rnd Red Cedar.thomaslloydguitars.Bunya I-'inc.l(k"Nood.4 Scale Length Dreadnought Soundboard .I asmaruan Huon Pine & i-iddleback 81ackvvood Fretboard .Cooktown lronwood The advantage of buying through Thomas Lloyd Guitars is: You can buy minimum & individual quantities easily and ready to gal ~lOU are The timber is dry/seasoned l. Quccnsl.Fiddl eback GI. and <lrc eJ\liJilable to Sound boards . Huon Pine Back and Sides . Neck Block & Back Bracings .Queensland Plantation Bunya r)inc Side & Centre Strips . Mountain Ash Necks . lie a Sheocrk.Queensland tV'lul9d OTHER AU STRAlJA N TIMBEROPTJONS Thomas Lloyd Guitars source Iimbers from the Suppliers mentioned on Ihe Master lidSS D\jD and in the previousesource paocs of this Luthiers Handbook. Black Hear I SdSSdfr ss.QtJ('cnslall(i Mulga Bridge .King VVilliam (Billy) Pirw Headstock Veneer .THOMAS LLOYD TIMBER & TOOLS GUIDE AUSTRAliAN TIMBERS USED IN THE MASTER CLASS DVD SET 25.Acoustic and ClassiCill (juitar ~i'laking i imber Packs . 1\}.com THE LUTHIERS ACOUSTIC GUITAR MAKING HANDBOOK . Back Strip & Heal Cap . T~'i("seare our ovm Australian Timber option'.Vlaple.RouCjh Sa\llin ready to gol See our website for full details and current pnces: www.Queensland Back & Sides Iasmanian Acoustic Guitar Plantation L)unya Pine Fiddlcback Blach-vood Bindings. Quilted Queensland i'v'laple. Tail Block.Queensland .uI9a. VVf? recommend you DI R[CT rl()111 Thorn as Lloyd ()ui ta rs Ausua Iia. Tl gel 1\'11'1' & /vlynle.uthier .Chris 'Nyrme has hand selectC'd the timber to ensure best q-uality for instrument rnakinq gening the Complete . l3lachv()od Fretboard/Bridge . King \Vililam (Billy) I'irl('.

lo'v\/ & hig h tack .ernon Oil .Bees \.Ihick a nd thin width k Damp glue cleaning doth Cotton sheet Dusting brush 'Titebond' glue "Super"glue "Hot StuWglu(~ Scissors ".and various drill bits (i.bending Tools sides (optional) Router /trimmer Band Saw nrill Press Drum Sander Dremel Linisher Drill .1 to cut fret slots by' hand SiLt' THE LUTI-IIERS ACOUSTIC GUITAR MAK1NG HANDBOOK .nne q rade "(JOOO" Stanley I(nives Electrical/Power Hot Iron .wool cloth for polishing IJolishing "vax .VilX Guitar Making Techniques & Jigs (as shown on the Master Class DVD) llracing Dish _jig Gultar Mould jig Dreadnought l-low to hand plane 1-10\'1.~II./1as ing Tape . THOMAS LLOYD TIMBER& MISCELLANEOUS GUTTARBUILDlNG TOOLS GUIDE ITEMS Router supper t mat \'Vax IJape r ~.Nooelen\)lue deaninqstick T.'lCks Steel wool .Fretboard Clean canon cloth for applyinq the oil Lambs.e counter sunk) Finishing "Rusti n's' Ua ni sh Oi I l.

Jig for back STrip (larrah strip) Bridge Jiq 11" radius SZliIcJing block _ Frf:'tboard l)ovetail Ji~Jand 1)lans _ Supplier _ Slel·vart IviacDonald (US.'.111 Pinch Clamps (apx qty 40) Bridge Clamps . .A_) S ide bend inrJ J i9 pl21T1Ssu ppned in "The l.UPPOl'ts Rosette cutti rl~J iitl Neck supp()rl Vice jig _Ailt board MDF (chipboilfd) I)ine timber lengths .urh iers H(I nd book" by Thorn (IS I loyd (juitars.I·/ood Files FreTnles Spoke shave Japanese l land Sa'N Piar1eS_various sizes Block planes Clamps _ I_. _ Rulers & Levels Straight Fdgp I-ret rniuking ruler Set Square Standard f~uler Small Level THE LUTHIERS ACOUSTlC GUITAR MAKJNG HANDBOOK .SoundbOilrd and neck Bendmq Jig Curved silrldin9 stick Gluing back and soundboard l hin scrap timber .(apx qly 3) Nliter Uauge Dial calipers Jigs & Supports: (that you can make on your own) Cutting support block l)mvel sticks (Long and S hOI t·) Internal Support liq Clamping Clul.]! !lIe \.IVirecutters Chisels FI.j_ S TIMBER & TOO'LS GUIDE Hand Tools Hammer \.THOMAS r.IIQC' clamps & QIJick grip damps "G' Sm. n IT A LLOYD .

Machine heads Strings THE LUTHIERS ACOUSTIC GUiTAR MAKING HANDBOOK .4DO Sticking sand pClper Supplier .PilUJ Shell Bridge Pi no. 180. I:r(-"I rile medium siLe Fret r~.square Sanding stick .SlbViJI"!: f\'~il(DoflJld (USh) Set up & Accessories Truss F!od idem key Saddle-o-iv\a lie & SiJcldle ICret\I\/i re I:rel Hammer (\jut Fret Sil\'\.THOMAS LLOYD TIMBER & TOOLS GU"IDE Safety Equipment Ear ivluffs Sa fuy Gasses Dust Masks Sanding Sanding Block .220340.arched Grades of paper used (jrit 120.uler Fretboard clots Mother of Pearl Rosette lnley .

\ I I Chapters. Sa Page 6 Page 7 Page 8 Pages 9. 12 Page 13 Cutting Out the Back Making and Gluing Kerfed Lining Fitting Backstrip Fitting the Back Side Strips Splicing the Neck Page 14 Pages IS. 26 Marking and Gluing the Bridge Plate Marking Out the Neck Shape Heel Block Placement and Gluing Routing Out Truss Rod Channel Gluing the Soundboard Page 27 Page 28 Page 29 Gluing the Bindings . 4a Pages 5. 1 I. 19 Page 20 Preparing and Gluing the x Brace Tapering the Soundboard Bracing Pages 21.22 Page 23 Page 24 Pages 25. Preparing and Gluing the Back Preparing and Bending the Sides Page 1 Page 2 Preparing Tail and Neck Blocks Gluing Tail and Neck Blocks Creating the Back Arch Preparing Backbracing Page 3 Pages 4. 1Sa Page 16 Page 16a Gluing the Neck Splice Gluing On Headstock Veneer Drilling Machine Head Holes Preparing the Soundboard Marking Out Soundboard and Rosette Channels Bracing Page 17 Pages 18. 9a Pages 10.

37 Page 38 Page 39 Pages 40. 52a Side Bending Jig .Chapters Marking and Cutting Out Fretboard Shape Page 30 Page 3 J Fretboard Radius Inlay Fret Dots Setting up the Dovetailing Shaping Heel Block Fitting the Neck Cutting Out Headstock Headstock Shape Page 32 Page 33 Page 34 Pages 35. 41 Page 42 Page 43.43a Page 44 Design Template Fretboard Shaping and Positioning Shaping the Neck Fretting Making the Bridge Gluing the Bridge Page 45 Page 46 Page 46a Final Sand Oiling the Guitar Guitar Set Up Pages 47. 36. 47a HOW TO MAKE JIGS Back Sanding Stick Bridge Slotting Jig and Bridge Design Bracing Mould-Back Bracing Mould-Soundboard Page 48 Page 49 Page 50 Page 51 Pages 52.

Type of Wood 2.90 Very tall tree.70 Tall tree. up to 40m Easy to medium workability 5.90 Medium to tall tree. up to 35m Easy to work KING WILLIAM PINE 2.50 Tall tree.90 Medium to tall tree. up to 30m Soft. easy to work SHE OAK Unavailable Medium sized tree. Hardness . up to 40m Easy to work QUEENSLAND RED CEDAR MYRTLE 5. up to 40m Very easy to work FIDDLEBACK BLACKWOOD JARRAH 8. up to 15m Relatively easy to work -NECKSQUEENSLAND MAPLE TIGER MYRTLE 5.Australian Timbers That Can Be Used In Guitar Making.00 Tall tree.SOUNDBOARDS BUNYAPINE 2. up to 70m Easy to work 4. up to 35m Easy to medium workability -BACKS AND SIDES FIDDLEBACK BLACKWOOD 5.70 Tall tree. between 25m and 30m Easy to work . between 25m and 30m Easy to work .Dry 3. up to 70m Easy to work 2. Workability QUEENSLAND WALNUT Unavailable Tall tree.30 Tall tree. The information on this page is formatted as follows: Line Line Line Line 1. between 30 and 40m Easy to work QUEENSLAND MAPLE 4. up to 35m Easy to work BLACKHEART SASSAFRAS 4. Tree Height 4. up to 45m Easy to work HUON PINE Unavailable Meduim tree.90 Very tall tree.70 Medium sized tree.30 Tall tree.

Type of Wood 2.90 Very tall tree.0 Small to medium tree.0 Small tree.. up to 10m Requires effort to work MULGA 13. Hardness . between 25m and 30m Easy to work JARRAH 8.90 Medium to tall tree..50 Tall tree.Australian Timbers That Can Be Used In Guitar Making cont. up to 40m Easy to medium workability WANDO 0 15. Workability Neck cont .0 Small tree. The information on this page is formatted as follows: Line Line Line Line 1. Tree Height 4.. up to 10m Requires effort to work FIDDLEBACK BLACKWOOD 5. up to 15m Relatively easy to work . .FRETBOARDS / BRIDGES GIDGEE 19..• ALPINE ASH 4.Dry 3. up to 100m Relatively easy to work SHEOAK Unavailable Medium sized tree. up to 25m Requires effort to work .

Please Note: The dimensions in this handbook are given in both Metric and Imperial units. 3 [1 ] 16 Metric Imperial The dimensions in this handbook are given in Metric and then converted to Imperial. See below for an example. . For accuracy. Therefore. use the Metric dimensions. there may be slight variations in dimensions.

The Luthier's Acoustic Guitar Making Handbook by Chris Wynne Jason SilTIOS .

_. Place glue on the edges that are going to be touching. -I 36 [1 -1 6] t- 7 Step 2: When you are satisfied with the distance 1 Block I r 20 [13] 16 1------'I 1 Length: 560mm or 2216 Table Step 3: See notes .:::::. then tap the nails in completely. . Glue used is called Titebond.. f----Clamping Force Block of wood. Block Figure 1 End Block Table i----Distance: Finn Force needed to push pieces downwards. t press the two pieces down to obtain a tight fit. This should help. length 560 x 20 x 36mm or [ 22 x~ xli] used to clamp along the seam when joining the two pieces. move the End Blocks on one side the width of a pencil mark. This is done to obtain side clamping force..-------i End Block Note: If it's too hard to push down and pieces buckle.Preparing And Gluing The Back.. Glue placed on each edge of blackwood piece. Page 1 ..----------. f------- Waxpaper is placed in between the blackwood and table to prevent them being glued together..::~-Oncehe Block is removed.Two pieces to be glued together.__--------'-------. Step 1: Block of wood to be removed Edges are touching First nail one side into the table and rest the two pieces of Blackwood on the Block in the middle so that their edges are touching. Step 4: See below notes Waxpaper is placed in between the clamping Block and the ------. between the End Blocks. Seam. Then nail in the other End Blocks. blackwood to prevent them being glued together. __ ~Waxpaper is placed in between the blackwood and the Block. Table '-___.

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/ / / / 1f-.5mm [ 3 /32 ] Note: The above "Vertical" dimensions are approximate. G _ra_in_dir_e_c_ti_oll420 [ll-l~-~-l]~~~~~=_2_10_[8_i_2]~_-:_-_-:_ __ -__ _'-l~ I - Wood: Fiddleback Blackwood. Page 7 . quarter-sawn Thickness: 2. / I (80) \ [332] (170) [~] 5 I -t-l \ \ ) I / (370) [14~1] \ / / / \ (550) I \ I [21~] (510) [2( 3 Cut with bandsaw 20 [25/32] / 32) \ offset from traced shape. Trace on both sides.Cutting Out The Back t--------284 [11?6J--------I / \ Shape obtained by tracing inside of Side Mould.

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Page 9a .Fitting Back Strip cont . Jig CLAMPED to bench. Area to be Routed Run Router along this fixed edge.

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Page 15 .

Page 16 . sand away and trim away any excess. After glue has dried.Gluing On Headstock Veneer Huon Pine 1mm thick Head Note: Apply clamping force tightly and evenly so that there are no air pockets. which can cause de-lamination.

Step 1: Drill Machine Head Hole. Clamp the HeadlNeck to the Block of Wood in order to prevent Blackwood veneer from splitting when drilling the Machine Head Holes. See above diagram for details.Drilling Machine Head Holes L____ Block of Wood. Make sure that the Head is LEVEL for each hole drilled. Page 16a i .

1..0 § II .........J 1.0 V) ..-. . o o ~ o ~ o ~ . II -00 L............ ~ ~1 ~ Page 18...... ::r:: (I) ... ~ •• .v2 ....... r- i ....

.::. Wood: Bunya Pine..'\0 ~ ~/ Finger Brace 00. Page 19 .2 8 [16] ~ 2..I.\" \ \._ ... \ 6 [64] iY !/'V I r- 8 [16] 5 Tone ann positions mirrored for Left Handed Guitar..Marking Out Soundboard Bracing Need to saw off on both sides.. / 22 [1] 155 [664] 7 13 [1]J ~~ I\. quarter-sawn **Note: The dimension 288 [11 11/32] is to the front edge of the Saddle Slot on the Bridge._ V<.."" / /' --..

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5 [2 2] r I \ I \ I \ / / / Page 21 . .below the soundhole.Tapering The Soundboard Bracing Note: Taper the Soundboard Bracing to nothing on the outer edges ".5[2 2] 1 rUpper Transverse Graft -163./ / 63.

5 [21/2] [1] 8 ~__l 3 r [1]1 8 zero Curve after sanding • Profile NO Shaping Lower Face Brace (Tone ann) [5~]1 Tapert0 L~ L2 rt4J [_2 ~] -j 70 [2~~J 1130 ============. ....Tapering The Soundboard Bracing cont . 2. ----=. 3. Next.5 [2112] Upper Face Brace I 63. glue and clamp the X-Braces onto the Soundboard and apply glue to the notches that you created on each brace..__ 1 1 3 19[4] X-Brace (left)j Curve after sanding 3 [~~ I Profile Before Shaping 19 [~ ] Notch (tight fit) 1/2 Height of Brace 1130[58]. Once the glue has dried.3 Finger Brace Profile Before Shaping Taper to Zero-> t 11/2 Length _j and then Taper j Profile After Shaping The process of Tapering and Shaping the braces is only completed after each brace has been glued and allowed to dry.. Now clamp the rest of your soundboard bracing on in this order: Lower face brace Lower face brace Upper face brace.. Notch (tight fit 1 X-Brace (rightj ~ Profile 1 Taper to zero 3 [~j--l j After Shaping l rL~ G 63. Step 1: Secure the Soundboard onto the Soundboard mould. Page 22 Step 2: 1. I 7 Profile Before Shaping Profile After Shaping • I Figure No. dry and shape... aligning the centerline and outline. dry and shape. Soundhole braces 1._L_ X-Brace Tapering: 1 130[58].. 2 and fmger braces. you can taper the X-Braces. dry and shape.J.. dry and shape. 4.. Notch depth 1/2 Height of Brace . and upper transverse graft..

approximately the size of the Bridge Plate that you are going to make. 2 [5/64] thick. Step 2: Step 3: Page 23 . Roughly mark out where it will sit and cut to size. It is very important that there is no movement of the Bridge plate against your soundboard bracing and that it is atleast 2-3mm [5/64] .Marking And Gluing The Bridge Plate Bridge Patch Wood: Fiddleback Blackwood. It is very important to make sure that the Bridge Plate is glued down finnly on all edges. in order to get a tight. BRIDGE PLATE Step 1: . snug fit. Slowly sand the edges.[1/8] bigger in width than the Bridge. Get a piece of Blackwood timber.

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Take a piece of tape and stick one side to the Side oftbe body and the other to the Soundboard. This will hold the Binding. Then continue with the other guitar sides Gluing On Bindings Measure the length of each binding by holding the binding at the waist of the guitar.5.-------- [34~1 ---------------1 Jarrah~ 2 riilL_ ~ It::::====================='. Start with the soundboard binding first. Page 29. as you are routing on a flat surface and cutting a soft and hard wood. Do not cut the total depth of the binding in one cut. Place glue on the guitar body Lining (Soundboard side) and start from the centreline at the bottom of the body and work your way to the neck area.====================::::::::j Optional: Timber of your Choice_! Wood: Jarrah t tt~ Follow specific instructions as per DVD No. Place one strip on top of the other. As you work around. You will need to sand the Binding strip back so that it is flush with the sides.v2 . 880 2 rt41l I r r. Ensure nice clean cuts at end of binding strips.-. take a strip of masking tape and cut two strips about 15crns [5 29/32] long. Cutting Binding Groove Measure the depth of the bindings on the side of the guitar. Then write on each binding left or right after you measure its length. cut to the reqired dimensions using a bandsaw. as this can increase the risk of tearing the timber grain. Do this about 20 times. overlap and pull tight the next bit of tape. Remember to keep the thickness of the strip even all the way around.Gluing The Bindings Preparing the Bindings Prepare your binding strips in the side bending jig or hand bend them with the hot iron. You can vary the design of the binding by using another timber. You will need to make four binding strips. as the strip is wider than the groove created. remove the tape carefully. Once your strips are cut to length. Press down and pun inwards on the Binding. Once the glue has dried.

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Setting Up The Dovetailing See D VDfor a comprehensive explanation on how to dovetail Ensure that the area where the neck will be fitted is perfectly flat before adjusting the neck angle. Front View 5 80 [332] t Top View Note: --I ensure that you When doing your neck block for dovetailing. have a centreline up the middle of your neck block. Dovetail depth 80 [3 32] 5 t Page 33 .