LL Guitars

Some Projects in Progress

2009-08-08T08:48:00.001-07:00

Seven necks. I have been working them as a group, because it is more efficient. The eighth is further along in the process, and I use it as a reminder of what is to be done. Depending on how you count them, there are thirty to fifty operations needed before a neck can be attached to the guitar body. These necks are at step fifteen.

Cameo. A low-relief carving of a head in profile. To the right is the picture from which I work. I am in the process of "raising the field;" that is, cutting away the excess wood over the background. The holes are at a uniform depth, to establish how much should be chiseled off.

Neck Block. This guitar will receive a new neck block. The block shown is the new block, and is about twice the size of the old in. The neck block was replaced to provide enough gluing area to resist the pull of the strings.

Arched Top. The underside of a Sitka Spruce arched top is pictured. I pencil a grid on the surface (the faint lines), and then measure every intersection with a dial gauge. After measuring, I work the thickness down with a round bottom plane, sandpaper, or a scraper. My goal is a uniform thickness of .156.

Resurrection. A guitar I am resurrecting. The body had been completed when humidity changes in the shop caused the thin webs in the sound holes to separate in about eight places. I set it aside back in 2003, and started work on it this year. After taking the back off, , I reinforced the soundhole areas with fine cotton fabric set in epoxy. When the touch-up on the outside is complete, I'll replace the back and complete the guitar.

Banjo and Cameo

2009-06-07T19:03:00.000-07:00

ANTIQUE BANJO

Several months ago I posted some pictures of this banjo as a work in progress. This is the completed instrument. It is not playable, as the neck is warped, but the owner only wanted it in displayable condition.

I changed the neck angle, fabricated a tension ring, and made a new bridge. It has a new head, tensioning bolts, fifth-string peg, and strings.

CAMEO

Here I am working on a Cameo of my granddaughter Julia.

The material is Basswood, three-quarter inch thick and fourteen inches in diameter. I enlarge a profile picture to use as a pattern, and carve the face in low relief. The finish is paste wax, with mahogany colored paste wax to tone the hair to match Julia's red hair.

I did it as a Christmas present for Julia's other set of grandparents, Peggy and Chandler. They liked it enough to ask me to do Jenny and John, their other grandchildren.

Letters to Grandchildren

2009-02-18T16:26:00.000-08:00

Dear Rose:

This is the "before" picture of your violin. As you can see, it is dirty, and very incomplete. My first step was to send for some basic violin repair tools, and a book on repair. My next step will be to clean it and take it apart, so that it can be re-assembled with fresh hide glue. It will eventually get a new Ebony fretboard, Ebony tailpiece, Ebony tuning pegs, and a Maple bridge. I will keep you posted as the work progresses.

Love, Grandpa

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Dear Josh:

Some pictures on the progress of your electric bass. The first picture, with the light color wood, are the blanks for the prototype. The wood is Poplar. I will send the prototype to you, so that you can be sure that I've followed the drawing you agreed to.

The second picture, with the dark wood, is to show the wood I would like to use, if you agree. Both pieces are Honduras Mahogany, but acquired at different times. The piece for the body is a cut-off from wood I bought back in 1986 for furniture. It is plain sawn, and I would be reluctant to use it, but for the fact that it has sat in my shop for twenty-two years without twisting or warping. I think it has proved itself a proper piece of guitar wood. The other piece, for the neck, is quarter sawn, the "holy grail" of guitar makers. I went through all the Mahogany at Woodcraft in Roanoke, and pulled out all the quarter sawn pieces. I paid for them, of course, and then squirreled them away for future guitars.

The Mahogany is a dark red now, and will turn darker with exposure to sunlight. Should you want a darker red, I can accomplish that with a "toner" made of dye in the lacquer finish.

Love, Grandpa

Promise Guitar

2009-02-05T22:14:00.001-08:00

This is the third guitar I started, back around 1980. I had finished a jumbo flat-top, and a large arch-top. I had been well bitten by the guitar bug, and was anxious to move along. I was aware of the shortcomings of my first two, and, as I remember, wanted to back up and work slowly. I had Irving Sloan's "Classical Guitar Construction" and "Steel String Guitar Construction", so I was confident I could overcome any obstacle.

I had joined the sides to the neck, using the traditional Spanish foot, when the obstacle came out of left field. In 1981, I quit my job, and after several frustrating interviews decided to work for myself. I considered franchises, and several other things. I finally decided on woodworking, since I had my Dad's machines and a two-car garage that would serve as a shop. I briefly considered guitarmaking, but realized I had more experience with furniture than guitars.

The incomplete guitar sat on a shelf or hung on the wall in the New Jersey and Virginia shops until around 2002. In the next few years I added the back and top to the sides, and prepared the fretboard. Other guitars have pushed ahead of it in the line, but it is a very patient guitar. It knows the first two guitars are in landfills, so that makes it the living grandfather of everything I have and will build. It has my promise of completion.

Router Lift

2009-01-17T09:11:00.000-08:00

Pic. 1: Router lift, assembled but uninstalled

This project began in the summer of ‘08, and was installed in early ‘09. It is part of the reorganization of my shop that took place when I moved from Virginia to South Carolina. The need to downsize encouraged me to use all the "stuff" I have accumulated, rather than let it continue to clutter my shop. For instance, I’ve cut down my extension ladder to make it into a lumber rack. Plywood I had sized for an abandoned project has morphed into wall-hung cabinets.

For the router lift phase of my “use-it-or-lose-it” project, I’ve re-purposed the following "stuff:"

A threaded shaft I trash-picked in 1980, machined for use in a shoulder vise in ‘02 and set aside in ‘06, became the jackscrew that raises and lowers the router.
Two shafts that were part of my glass-grinding machinery in the early '80s were turned down by a machinist friend to become the slides on which the router moves.
I took apart my Makita three-horsepower router, purchased in 1985, stored the plunge mechanism (for some future project, yet unknown), to make it a dedicated part of the unit.
For jackscrew bearings, I used some High Molecular Weight Plastic (aka: slippery plastic) I purchased on a whim in ‘05.
For the top plate, I used black phenolic I purchased in 1983 for lighted display cabinets.
For the yoke that connects the jackscrew to the router, I used a piece of half inch aluminum, purchased at some undetermined date from Fazzios in South Jersey.

The router lift sits in the plywood top on my table saw. This allows me to use the rip fence as a fence for the router.

It should also be noted that a free-standing router table can cost between $200 and $500. Commercial lift mechanisms are in the same price range. All my accumulated costs probably amount to $150.

Pic. 2: Router lift; installed

This usage clears my shop, and gives me a very nice tool. What more could I ask for?

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The guitar body and neck in the background of Picture 2 belong to the second acoustic made by Chan (my son-in-law), in the lacquer finishing process. It is a 000 size, with 12 frets to the body join, and a slotted peghead. The back, sides, and neck are Honduras Mahogany. The top is Spruce, the fretboard and headplate are Madagascar Rosewood, and the soundhole binding is Lacewood. "Let's Hear It For The Boy!"

Antique Banjo

2009-01-02T08:56:00.001-08:00

Banjo 1. The rim and head are in the background. The jig is to the right. I'm working on the ring in the foreground.

This banjo was purchased in 1896 by the current owner’s grandfather. It is handmade and homemade, though that is all that is known of its origins.

When I received it for repair, it was without a head, bridge, tension ring, hold-down hooks, or strings. The neck was warped, rendering the instrument unplayable.

Repairs were mainly cosmetic, as the banjo would be used only for historic display.

The hooks, head, bridge, and strings were readily available, but the appropriate tension ring was not. I handmade a tension ring by first using a lathe to turn a forming jig of the correct size and then laminating the ring using Hard Maple veneer and epoxy.

The ring was then ready to be beveled (to properly engage the hooks), painted, and the banjo re-assembled.

This is one of those pieces that are a rare pleasure to repair because of its history (known and unknown). Every element that my hand touches has a story. There are few things I enjoy more than imagining what those stories might be.

Banjo 2. The ring on the rim of the banjo’s head.

Shop Renewel

2008-08-14T11:24:00.000-07:00

Slowly but surely, the shop is taking shape. First, a "before" picture:

And the after pictures:

Organization is the primary objective at this point, though partially finished, sheet-rocked walls are certainly a plus!

Pictures

2008-07-20T11:37:00.000-07:00

New dust collector, hand-build and assembled:

Wide shot of LL Guitars shop/storage:

Construction in the LL Studio

2008-07-13T09:26:00.000-07:00

I have been working on my shop for the last month or two. I installed the 2 HP cyclone dust collector in the small room behind the garage. That took a week or more, since I only work about 2 hours in the 90 degree heat. I limited myself to installing one section a day. Before that, I insulated the walls and put up drywall in the small room. Sloooooow process.

After I got the main parts of the dust collector up, I hoisted the motor/fan up with a block and tackle and eased it into position. Then I re-installed all the parts I had taken off the motor/fan to lighten it. I have a piece of an old undershirt that I use for a sweatband, and I look like an old hippie in my cut off shorts and holey tee shirt and sweat band.

But wait! There's more! My next step was to make a stand for the exhaust filter, which is about 5' high and about 14" in diameter. After that, I installed the 5" ducting from the fan to the filter. Then I started the 6" trunk line that runs the length of the shop to the collector intake. Three 90 degree els, one 45 degree el, two 4" y's off the main, and about 16' of the 6" spiral seam pipe. Then I screwed or riveted the joints together, and ductaped the joints to make them air-tight. Now I sound like a plumber, right?

I have finished the 4" down tube and blast gate for the duplicating router. You can see the duplicating router on the blog. I still have to install down tubes for the thickness sander, the bandsaw, and the table saw. After the main trunk, the electricians came in and wired up the dust collector and the additional outlets needed. This last week I tore out part of the partition between the small room and the shop area, so that I don't have to use the overhead door all of the time. Yesterday I sized the panels for three 4' long wall cabinets. I will install them after I insulate and sheetrock the walls. I am hoping to finish it all before the colder weather, so I can spend the winter working on GUITARS, insted of construction.

I have enough Mahogany for at least six backs/sides, left over from furniture days. I also have a beautiful piece of Wenge, a very dark tropical hardwood. I plan to use it for the back and sides of an archtop. I only have six Spruce archtop sets, but I should have plenty to keep me busy if I get the shop squared away.

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This blog and its contents are property of luthier Paul Lloret of LL Guitars (pronounced “Double L Guitars”). For more information on Paul Lloret and his guitars, contact LL Guitars.

Keren's guitar

2008-06-13T09:27:00.000-07:00

This acoustic arch-top was custom-made by Paul Lloret

The second acoustic arch-top I made was finished around 2001. It began as a project to utilize Mahogany left over from furniture making, and some quarter-sawn Spruce I got from a lumber yard I worked for in the early 80s. It quickly became something of an experiment. Most arch-top bodies are from 16” to 18” across the lower bout; this (and future LL arch-tops) is about 14” across. Most bodies are 21” long; mine are 19”. I’m still refining dimensions to make them more responsive and louder. This one is now in the possession of another granddaughter, Keren.

Specs:

Top: Red Spruce
Back, Sides, Neck: Honduras Mahogany
Fretboard, Bridge, Tailpiece: East Indian Rosewood
Fishman Undersaddle transducer (ie: Matrix I w/preamp)
Saddle and Nut: Corean©
Finish: Nitrocellulose Lacquer

(Click on any photo for a larger image.)

Keren says:

I don't "play" guitar, and this one doesn't intimidate me. It's the kind of guitar that makes me want to pick it up. It's bubbly! Kinda' fits my personality. It has a light quality. It almost feels like I'm playing a really really nice ukulele. It's like the beach, or a sunny day somewhere, and I'm eating a big bowl of blueberries while I'm playing. I love it!

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This guitar was custom-made by luthier Paul Lloret of LL Guitars (pronounced “Double L Guitars”). For more information on Paul Lloret and his guitars, contact LL Guitars.

Steve's guitar

2008-06-06T10:53:00.000-07:00

This acoustic arch-top guitar was custom-made by Paul Lloret.

I started this guitar in 2003 for a friend of mine. When I was 75% done I dropped and broke the neck, so had to start a new one. Then I found that the elaborate "Bird" soundholes I had originally planned (that looked amazing) would not work. The thin webs between the holes split at 5 or 6 places. So the one he finally got was completely new.

Specs:

Soudboard: Red Spruce
Back, Sides, Neck: Honduras Mahogany
Fretboard, Bridge, Tailpiece, Peghead veneers: Ebony
Inlays: Green Abalone Mother-of-Pearl
Finish: Nitrocellulose Lacquer

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This guitar was custom-made by luthier Paul Lloret of LL Guitars (pronounced “Double L Guitars”). For more information on Paul Lloret and his guitars, contact LL Guitars.

Duplicating Router

2008-06-01T05:37:00.000-07:00

A lot of my work at LL Guitars these days involves creations above and beyond the guitars themselves. In 2000, I began work on a duplicating router for arched plates. I have been refining the original concept since then.

The first guitar built with the use of this machine was the 2007 Hollowbody Electric. At the time, I only had a pattern for the outside of the plates, so I had to complete the inside of the plates by hand.

(T to B: pattern for inside, and the roughed out plate)

Time at this machine (to complete a plate) is currently about two hours. That includes a lot of stopping, starting, and careful checking. Even at two hours, though, the amount of time saved when completing an arched plate is astronomical, compared with using a hand-roughed technique! I eventually anticipate being able to save even more time on each plate, as I continue to fine-tune the details.

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This machine was custom-made by luthier Paul Lloret of LL Guitars (pronounced “Double L Guitars”). For more information on Paul Lloret and his guitars, contact LL Guitars.

2007 Hollowbody Electric

2008-04-29T10:30:00.000-07:00

This hollowbody electric guitar was custom-made, and completed in 2007.

Specs:

Top: Red Spruce
Back: European Maple
Sides: European Maple
Neck: Curly Rock Maple
Fretboard: Ebony
Headplates: Ebony
Other: Stewmac "Golden Age" Humbuckers,
Schaller Roller Bridge, Microtuner Tailpiece, and Locking Tuners.
Finish: Nitrocellulose Lacquer

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This guitar was custom-made by luthier Paul Lloret of LL Guitars (pronounced “Double L Guitars”). For more information on Paul Lloret and his guitars, contact LL Guitars.

Rachel's guitar

2008-04-09T04:49:00.000-07:00

This acoustic arch-top guitar was custom-made with Paul Lloret’s granddaughter, Rachel.

I only did about 15-20% of Rachel's guitar. She had all the design ideas (stars, S-curve on peghead, fingerboard end, and tailpiece). She carved the top, cut the Star soundholes, did the bracing, did the neck (except the inlay on the peghead), and the sides complete. I did the back, the tailpiece, the bridge, the nut, and the finish. She would have done it all, but had to go back to school.

"I would have done it all, but then it wouldn't be as AMAZING." -Rachel

Star inlays:

Contoured back (for superior tone):

The LL Guitars logo graces the pegboard in a mother-of-pearl inlay:

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This guitar was custom-made by luthier Paul Lloret of LL Guitars (pronounced “Double L Guitars”). For more information on Paul Lloret and his guitars, contact LL Guitars.

The Bigsby Show guitar

2008-04-07T04:02:00.000-07:00

This solid-body electric guitar was custom-made for Bigsby of The Bigsby Show.

Bigsby’s primary request was for a light guitar. So, after we determined a basic shape, I deviated from classic design in several ways:

This guitar is only 1 5/16” thick, as opposed to a standard solid-body, which can range from 1 ½” to 2”.
The neck is glued to the body, rather than bolted. Less metal = less weight.
Wood from the lower bout (in the front) and the waist (in the back) was removed.
Carrying the cutaway across the back of the neck also aided in decreasing the weight.

“Check out this sweet neck joint!” –Bigsby

Specs:

Bridge pickup: Seymour Duncan Jeff Beck*
Neck: Seymour Duncan Stack*
Body: Honduras Mahogany
Neck: Honduras Mahogany
Fretboard: Ebony
Peghead: Ebony with Spertzel Locking Tuners
Bridge: Schaller with Microtuners
Finish: Nitrocellulose Lacquer

*These components were chosen because they provide a loud and versatile sound, paramount considerations for the type of playing Bigsby does.

“Bigsby smiles whenever he picks this guitar up, so I guess it’ll do.” –Paul Lloret

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This guitar was custom-made by luthier Paul Lloret of LL Guitars (pronounced “Double L Guitars”). For more information on Paul Lloret and his guitars, contact LL Guitars

For more information on Bigsby and The Bigsby Show, click here.