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Thread: Video- Making, shaping and installing solid linings

  1. #11
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    Doesn't a uke want to act more like a Flamenco Blanco though....? You are effectively building a small guitar and I wonder if there is not enough energy from the strings to achieve the effect you want? I dunno. It's just counter intuitive to me. A lot of what Gore talks about is from a mechanical engineering point of view and totally homogenous materials.
    Last edited by Pete Howlett; 11-01-2018 at 10:55 AM.

  2. #12
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    But aren't ukes really like small guitars?
    But honestly, It just depends upon what tone and volume you are seeking. I think the line between guitar building and ukulele building are getting blurred here.
    Chuck Moore
    Moore Bettah Ukuleles
    http://www.moorebettahukes.com

  3. #13
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    I just try to build the best sounding instrument- I don't differentiate size as the goal is always the same- ie, trying to find and put as much energy into the top as possible.
    People do this all the time by putting a longer scale on a smaller instrument (eg- 19" scale on a tenor body)- that's the same thing.

    By doing stiff sides and high density linings you expand the vibrating area of the top. All tops only start to vibrate about 1" inside the actual perimeter- by having weighty sides/linings, you "expand" that perimiter from 1" to maybe 1/2"- that's huge.

    This doesn't change the tone of the instrument I dont think, you just get more. Actually, Trevor Gore talks about live backs (and falcate bracing) getting a more complex tone. But some like a traditional uke (or guitar sound) so a super high functioning instrument isn't for everyone.
    Last edited by Beau Hannam Ukuleles; 11-01-2018 at 01:56 PM.

  4. #14
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    I find these discussions between pros about what makes a great sounding uke fascinating, in part because there's not always agreement! In a previous thread, Allen showed a complete concert build (which is worth reading if you havent seen it). He stated that hot hide glue (to attach the top) was important for tone. In post 14 I asked him for his opinion on laminated linings: he replied in post 15 that he didnt consider this important in a uke with such a small soundboard and that there was also a time penalty in doing so. Here's the whole thread:

    https://forum.ukuleleunderground.com...=concert+build

    As a hobby maker I pick up ideas which make sense to me and use them in my builds. Like Beau I tie my upper cross brace to the neck block to make this area very stiff. This is said to improve sustain. I note that some acoustic guitar makers are now using heavier denser woods such as Wenge for the whole neck, where traditionally light woods such as Spanish cedar or mahogany are used. This too is claimed to improve sustain. I wonder what the pro uke makers think of this?
    Last edited by greenscoe; 11-01-2018 at 11:51 PM.

  5. #15
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    You are all thinking about it incorrectly and narrow mindedly.

    Any instrument is just a vibrating surface. That's it.

    So make that vibrating surface as best as it can be.

    The only unmovable parameters are the body size and scale length.

    Everything else a luthier can either optimize or not..... so make it the best you can within the parameters of body size and scale length.

    ____
    To greenscoe and Allen

    Now i'm laminating my sides, I save time- its quicker in every way for me.
    Also, i lam my sides to make the vibrating surface bigger (Laminating the sides expands the vibrating surface through the mass/stiffness of the sides- Trevor gore proved this- it is irrelevant that he did it on a guitar, or that it is a mechanical engineering point of view- like i said- it's just a vibrating surface.
    This expanding effect of side mass on tops is more pronounced/effective in guitars, but even If i gain 5% more top vibrating surface just by doing what i do, thats a good thing. SAme with using good neck woods, fingerboards, bridges etc- 1% here and there adds up to a great sounding uke.
    Last edited by Beau Hannam Ukuleles; 11-02-2018 at 05:57 AM.

  6. #16
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    I think we just do it differently Beau. This ain't no spitting contest. My view is you are applying guitar making principles to a smaller folk instrument where the variables are very narrow. If you are happy to do that then fine. I would not spend the time and effort doing what you do and if I did, I would certainly make everything consistent using accurately made CNC machined jigs to achieve this plus consistent thickness laminations. I am also confused that you say it is quicker? Takes me now 20 minutes to bend and set sides and 12 minutes to make a set of kerfed linings - that is from raw wood to finished piece (using a Ken Timms machine for the final kerning). I would also struggle to put a solid and very stiff lining around the back rim of one of my instruments which has an 8ft radius and a 16mm taper back to front. The compound curve produces a rigid and strong back, but manipulating a solid laminated lining through the undulations of that rim would be a nightmare.

  7. #17
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    I agree the variables are narrower with ukes, but like i said, if i get push the vibrating perimeter of the lower bout out 1/8", thats a huge advantage- it makes a concert top almost the size of a usual tenor tops vibrating surface area.

    It's faster due to:
    1- The wood being thinner so a breeze to bend
    2- Sides glue up perfectly flat and stay flat so less sanding flat.
    3- No more side splints

    I use a 15' back and have no problems with the solid linings going in perfectly (why i use the actually sides as my clamping "jig" for solid linings.) really no probs at all.

    I would say our times are very similar (20 mins and 12 mins)- no not including glue ups - i leave my sides over night and the linings for about 1hr, but as i do it at the end of the day and in batches, it all works out quicker.

    So, it's quicker AND easier for me after 15 years doing it the other way.

  8. #18
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    And there you have it - it works for you. Horses for courses as we say in Blighty! Keep on trucking bro. What you do fascinates me.

  9. #19
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    Quote Originally Posted by Beau Hannam Ukuleles View Post
    I agree the variables are narrower with ukes, but like i said, if i get push the vibrating perimeter of the lower bout out 1/8", thats a huge advantage- it makes a concert top almost the size of a usual tenor tops vibrating surface area..
    Or you could make the lower bout wider. That's what I did a few years ago. But we all have our own ways and we will stick to them until they stop working for us. It'd be pretty boring if we all worked in the same manner and produced the same instruments.
    Chuck Moore
    Moore Bettah Ukuleles
    http://www.moorebettahukes.com

  10. #20
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    Quote Originally Posted by Moore Bettah Ukuleles View Post
    Or you could make the lower bout wider. That's what I did a few years ago. But we all have our own ways and we will stick to them until they stop working for us. It'd be pretty boring if we all worked in the same manner and produced the same instruments.
    Hahah- i did that too- i realised i might as well make the lower bout fit inside a common tenor case, instead of having 1/4" of space around it (i think my tenors are about 9 1/8" or 9 1/4" now)- traditionally they are about
    8 3/4"?? something like that

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