…How I made the Celtic Knot lattices for Martin’s guitar…

Jun 5, 2009 @ 11:32

Martin liked the pics of the test pieces I sent him and chose the Koa over the ebony for the lattices to replace the original nasty plastic cover plates. That decision made I got on with making them. Each one is made from two separate pieces – the knot-work is carved into a ‘panel’ and this is then glued to a ‘frame’. Here’s how I did it:

Making the Celtic Knot panels:

1. To make the pattern I printed the design from the computer scaled to the right size, and then used spray glue to stick it to the workpiece.
2. I used a small router to remove a layer of material outside the pattern, so the carving will stand out, and to give a flat surface to glue it to the frame.
3. I used a drill to make hole right through the piece in between the knot-work, then filed down to the line with a set of needle files.
4. A sharp chisel held at 90 degrees cuts down, and then in at an angle, to join up and remove the wedge shaped pieces for where the knot goes ‘under’
5. Final shaping and sanding to clean it up and it’s done

Making the Frames:

1. First I cut a hole using a router for the middle of the frame
2. Then I used a band-saw to cut out the outside shape of the frame
3. The shelf around the edge of the frame is made using a small router
4. The shelf is shaped by hand to match the curve of the body – they are all different!
5. I Rounded the corners off and sanded them

Gluing ’em up

The panels were then glued to the frames and held in place with small spring clips until dry. A coat of sealer was applied, before a final coat of matt lacquer.

Gluing ’em in

To fit the finished ‘lattice’ into the guitar I had to remove the lacquer underneath where they sit so that the glue would stick:

1. I Test fit the panel and scored around the edge to mark it’s position
2. The small router removes most of the lacquer to reveal the bare wood necessary for a good bond
3. A razor blade cleans up the rest
4. I spread glue over the contact area and refit the ‘lattice’
5. The pieces were held in place while the glue set with a combination of clamps and magnets – whatever worked…. Sellotape in the case of the triangular knot to hide the jack socket

The side panel in the last picture was left unglued so I could still get acces to the inside for wiring the guitar up …..

Starting work on Martin Taylor’s guitar signed by Chet Atkins!

Jun 4, 2009 @ 11:29

The first task is to remove all the old parts – easy enough. After 1/2 an hour I was left with the skeleton of a guitar and a large pile of scrap. Now all I have to do is put it back together again!

I like to start with the hardest thing first – if you can get that out of the way then the rest should be easy- so I began with the lattice’s to cover the large holes left when I removed the cover plates.

It took a long time trying lots of different styles and a couple of emails before we finally decided on Celtic Knot work made from ebony for the lattice. I told Martin I would do some mock ups and send him some pics so he could have a look. First I made a paper mock-up then a couple of ebony test pieces. I was convinced ebony would look great – which it does – but when I tried to photograph them I noticed a problem. As you can see the detailed carving on the ebony kind of disappears – As ebony is black you can’t really see the holes which are also black. Close up it’s not so bad but a few feet away they just look like solid blocks. I think a change of materials is in order – I made a further test piece from Koa and sent the pics to Martin to see what he thought………

….A custom make-over for one very special archtop guitar….

…Last year Martin Taylor came by the workshop and told me about the plans he had for one of his old guitars which had been signed by Chet Atkins. After several emails he brought it round and we went through the plan in detail…..

2 June 2009 @ 11:56

The Plan

Martin said that he never liked all the plastic and metal parts on the guitar as they affected the tone. The tailpiece, bridge and finger rest could easily be replaced with ebony, but removing the plastic coverplates would leave big holes, so he has this idea of filling them back in with some kind of wooden lattice work (****!). He also wanted to replace the inlay on the headstock with something more meaningful.

This is what he has asked me to do:

1. Remove all the old parts
2. Make lattice’s to hide holes : 3 coverplates, plus switch, and jack socket
3. Make new ebony parts : Bridge, finger-rest and tailpiece.
4. Replace the inlay on headstock: Martin suggested some ideas for the inlay but I will have to come up with a suitable design.
5. Remove the mother of pearl inlays on the fretboard.
6. Fit a new set of tuners.
7. Fit a Benedetto pickup and rewire it to a new ‘endpin’ jack.
8. Re-string and set up the guitar

He also told me the story of how it got signed which is pretty amazing (and funny!)

It was while Martin was playing an event with Chet many, many years ago… After the gig Chet was signing autographs, and a few people had brought their guitars along for him to sign. I guess at that point Martin was feeling a little left out so he jokingly asked if Chet would sign his. Before he could stop him Chet did just that! Martin said that afterwards he wasn’t sure if he’d done the right thing. But now it stands as a permanent reminder of the great man. For me it is an honour to work on such a guitar – played on some of Martins awesome recordings AND signed by Chet. – Thats two CGP’s (certified guitar players). How many guitar makers can say that!

This is what Chet wrote:

Martin, your the best

-Chet Atkins,cgp

Wow!……I have to agree …. And I feel very honoured to be working on it…..just praying that I don’t rub the writing off while I’m doing it!

It is tempting to put a little ‘apostraphe e’ in there but I guess he was in a hurry. Anyway, when you are a CGP you can write it however the hell you want!

Now I’m having nightmares about someone ‘cleaning’ it off while I am not looking….that would not be funny…..

Big Thanks to Martin for entrusting me with such a gem……hmmm……I need to think about those lattice’s……a lot…..